#1 ·
There are moments when life becomes difficult—not so crushing that one contemplates suicide or self-harm, but just heavy enough that a friend might be required to pull you through.
I recall once traveling by bus, an experience some of you might remember: the sun hung high and merciless in the sky, impossible to block out even with a curtain; the heat was as relentless and suffocating as a Wagnerian opera, while my neighbor sat listening to Red Hot Chili Peppers on his earbuds, leaving me alone with my thoughts. If you have ever experienced such a profound sense of existential oppression and internal nausea, you would understand my digestive tract, which was traveling somewhere above the Mississippi River, torn between pure agony and total resignation; I felt too sick to actually vomit.
The bus jolted violently through every turn, passengers leaned precariously from side to side, and I waited for the nausea to ascend to my brain, fearing my head would either split open like a ripe fig or shrivel up like a dried date. Since neither outcome served my interests, I used my final reserves of strength to select a tape on my iPod, Biblical Violence, and pressed play.
Žuča & friends stood stunned. I had been saved.
I can offer no better explanation for this sentiment than the following critique:
This is my friend and the musician behind this work, Lovro Truliy Lefe:
[IMAGE REMOVED]
He released the tape under the label Skrot up.
Both longtime and new fans can download the tape here --> HERE
I ask that you please stay seriously on topic; our subject is Biblical Violence, as a band, an artist, and a musical beacon, as well as those situations (like the one described above) where Biblical Violence helped you, what the music reminds you of, and how you relate to it. Furthermore, let us discuss the standing of Biblical Violence within the global music landscape and its connection to bands of similar characteristics, starting from those perceived as mere noise.
By a stroke of divine luck, since the author of this post is also a member of this forum, this thread may serve as—as a former moderator once put it—a platform for dialogue and a privileged glimpse into the inner world of the artist.
ALSO, I REQUEST THAT MODERATORS DO NOT REMOVE THE CAPS LOCK FROM THE TITLE, AS THIS IS NOT AN OUTBURST BUT RATHER THE AUTHOR'S AESTHETIC CHOICE. THANK YOU!
I believe everything is clear, and I have high expectations for this discussion.
CONSTRUCTIVE COMMENTS ONLY, PLEASE!
I recall once traveling by bus, an experience some of you might remember: the sun hung high and merciless in the sky, impossible to block out even with a curtain; the heat was as relentless and suffocating as a Wagnerian opera, while my neighbor sat listening to Red Hot Chili Peppers on his earbuds, leaving me alone with my thoughts. If you have ever experienced such a profound sense of existential oppression and internal nausea, you would understand my digestive tract, which was traveling somewhere above the Mississippi River, torn between pure agony and total resignation; I felt too sick to actually vomit.
The bus jolted violently through every turn, passengers leaned precariously from side to side, and I waited for the nausea to ascend to my brain, fearing my head would either split open like a ripe fig or shrivel up like a dried date. Since neither outcome served my interests, I used my final reserves of strength to select a tape on my iPod, Biblical Violence, and pressed play.
Žuča & friends stood stunned. I had been saved.
I can offer no better explanation for this sentiment than the following critique:
It begins with a jab of bass, drums, and vitriolic hollering. Sound quality ensures the song is little more than a muddy husk. From these unsavory first steps, America’s Biblical Violence soon get downright malevolent. The next piece is rasping and demonic vocal incantations buried under monolithic and impenetrable keyboards. Then comes ramshackle darkwave with a coating of ear and face rending sonics. The tape peaks with rippling pools of bile and depth charged pulse implosions and concludes with a couple breakneck punk clatterings to take it home. For a double A side with only about twelve minutes of music, “Bib Vio” has an impressive amount of variety and the array of sounds all share a pitted, rancid, homicidal core. 8/10
This is my friend and the musician behind this work, Lovro Truliy Lefe:
[IMAGE REMOVED]
He released the tape under the label Skrot up.
Both longtime and new fans can download the tape here --> HERE
I ask that you please stay seriously on topic; our subject is Biblical Violence, as a band, an artist, and a musical beacon, as well as those situations (like the one described above) where Biblical Violence helped you, what the music reminds you of, and how you relate to it. Furthermore, let us discuss the standing of Biblical Violence within the global music landscape and its connection to bands of similar characteristics, starting from those perceived as mere noise.
By a stroke of divine luck, since the author of this post is also a member of this forum, this thread may serve as—as a former moderator once put it—a platform for dialogue and a privileged glimpse into the inner world of the artist.
ALSO, I REQUEST THAT MODERATORS DO NOT REMOVE THE CAPS LOCK FROM THE TITLE, AS THIS IS NOT AN OUTBURST BUT RATHER THE AUTHOR'S AESTHETIC CHOICE. THANK YOU!
I believe everything is clear, and I have high expectations for this discussion.
CONSTRUCTIVE COMMENTS ONLY, PLEASE!
<- LEGEND.