From the days of Quicksilver Messenger Service to Von and Leviathan, San Francisco has long been a breeding ground for music that continues to push the limits of experimentation. One of the newer musical acts to come from the city by the bay is the one-man Black Metal outfit Pandiscordian Necrogenesis. Outer Supernal is the latest offering from this project headed up by Ephemeral Domignostika, a composer who certainly defies typical convention. While USBM solo projects have been abundant since the early releases of Judas Iscariot and Krieg, this is one of the more unique acts to emerge in recent years.
Outer Supernal shows enormous progression since the release of 2010’s Cerebral Quasaric Lacerations. In terms of composition and overall sound, it’s astonishing how much things have changed in eight years. While the previous release wasn’t a bad effort by any means, the production on Outer Supernal sounds much thicker, and it’s on this album in particular that we hear a sound reminiscent of Swedish Black Metal band Craft.
Domignostika applies unique methods of composition that set Pandiscordian Necrogenesis apart from similar black metal artists. Opting for complete improvisation and spontaneity—all instruments—which consist of a bass drum, snare, and guitar, all of which are played simultaneously. By blending them together at once, a literal wall of sound is created. While it might be easy to dismiss this as a novelty with a lot of emphasis being placed on the method rather than a finished product, separating the wheat from the chaff in this instance becomes rather simple. In short, the music speaks for itself in volumes.
Outer Supernal thrives on atmosphere and ferocity. By considering the limited means Domignostika has at his disposal, the material never becomes repetitive; every song sets itself apart from one another. From the brooding feel on “Throne Ascension” and “Hidden Supernal” to the frenzied pace of “Void Supernal” and “Blood Ascension”, there exist several peaks and valleys that bring the album to life, simultaneously engulfing the listener in total chaos. While the music still possesses a primitive and abrasive aesthetic, there’s a progressive element to the material, which consists of the occasional off-time riff and time signature change.
Upon closer examination, there seems to be a conceptual path that the album follows—in short, there’s a timely order to the chaos. Three ambient tracks, “Gate of Shields”, “Gate of Uncreation”, and “Gate of Vexation” coexist alongside the rest of the material, which serve as the beginning, middle, and end. It’s these points that almost form an ascending and descending structure, with every song after “Gate of Shields” being named for Supernal and every song after “Gate of Uncreation” being named after Ascension. For an album that rises and falls with each note that passes, this method seems more than appropriate.
Pandiscordian Necrogenesis not only delivers the goods with this release but have established a groundwork that many groups should strive for. In an age where black metal continues to evolve into a commercialized commodity made palatable for the masses, it’s reassuring to know that there are new worlds to be explored. Domignostika stays true to the game while playing by his own book.
