That Drifting Collision with its first (and final) demo enters the small circle of matchless contemporary black metal bands, should be less shocking if you know that this is Killusion‘s new thrill. Drifting Collision by now has already changed its name into The Howling Wind and will release its debut album via Profound Lore Recordings somewhere in fall.
Black metal and disturbing noise seem perfect bedfellows in External Paranormal System. When listening slack-jawed to this post-Thralldom stuff, these crashes spellbound us and linked up to the real prototypical riffs of the first wave of black metal, think early Bathory, and refer to the powers and grime of the second, Darkthrone amongst others. The un-sustaining continuous creative process Ryan Lypinsky‘s projects undergo, grow towards even more focused energy and flagellated offensiveness. The lo-fi music is dispensed with drums in certain song segments, which strengthens the bleak heart of the music and undermines the slightest eruption of positivism. It gives the music an ambient black metal down-beat, strengthened by the manifold use of noise. Other cuts are overthrown with every vitriolic riff-cliché, inserting that same venomous detestation that Viking Crown did on their Banished Rhythmic Hate album, always with a tendency to sludge.
In Lypinsky’s alter ego’s world, music isn’t universal: it’s a blueprint of highly distorted nations, translated in doomy riffs at one time and blast beats at others. He is a shady tone-scientist, a true advocate of disharmonics and, concealed and unreal threats. The concoction of primitivism and modernism is mind-boggling and vibrates the atmosphere of supreme wrath, bridging the split between torture and pain.