Jyotisavedanga – ‘Cannibal Coronal Mass Ejections’

Artist: Jyotisavedanga

Title: Cannibal Coronal Mass Ejections

Label:  Cyclopean Eye Productions

Year: 2016

Review by Sythanagon

It’s been a long time coming for the marriage between harsh noise and extreme metal. Not that the two have ever been completely separate, but it’s not until the past few years that more bands have fully embraced the amalgam of two of the most abrasive styles of music. Jyotisavedanga are one of the newest in an uprising echelon of completely different bands that blend that aggressive and unrelenting chaos of black and death metal with droning, textured and aurally devastating noise compositions.

The thing that notably sets Jyotisavedanga’s Cannibal Coronal Mass Ejections apart from others in this field is their diversity. While the most obvious approach for many would be to completely shroud their vicious guitars in hazy plumes of clipping noise and industrial beats, Jyotisavedanga embrace the diversity that culminates in both metal music and its now noisy counterpart. Opening with ‘Alien Voices’, the band takes its time introducing their style with four minutes of death industrial layering, wobbling noises that ebb and flow and rise from the depths of increasingly changing hums of static and noise. This is far from just an   attempt at an “atmospheric” opener, nor is it what many would ignorantly pass off as “filler”—at only 21 minutes, there’s little to “fill” here. ‘Alien Voices’ is the first look into a band that is successfully showing that noise is also defined by its ability to adapt and provide dynamic consonance rather than just be an all-out barrage on the senses.

‘Great Annihilator’ is where the metal comes in, after a jarring intro, the listener is met with an absolutely menacing conclave of drums, distorted howls and deep, chunky riffs that can still be heard under the constant waves of noise and discordance. Though it’s far from the band just blasting and shredding mindlessly to create the illusion of extremity, what comes full circle here is the fact that these are fully defined compositions the blend perfectly. In the inharmoniousness of it all, there’s an admirable quality of depth and partnership to both styles of music that don’t just seem detached from one another, but perfectly joined. As the drums and guitars change tempo in between sheer speed and more involved, rhythmic sections, the industrial noise and ambiance fills the spaces and equally adapts to the song’s changes. As the guitars stop, the droning clamour echoes out and reflects itself in little beads of feedback and spine-shaking emanations of sound.

‘Black Brane Metaverse’, on the other hand, starts out completely differently. Its synthesised intro and slow, brooding drum beat carry it for over a minute with winds of distortion filling the aural dynamic. The rest of the track, however, continues with war metal grooves with an ambient distinction that ends on the notes of a twisted and wailing guitar solo before fading to black. Up until now, Jyotisavedanga were only just showing off their initial chops for writing both effective death industrial and pulsating metal riffs, because it’s not until ‘Superior Morphogenetic Commencement’ that they truly let that go for total annihilation. It’s an ugly, writhing mess of an aural assault, that still doesn’t sacrifice any listenability for its complete and utter chaos.

What’s truly impressive though is just how much the band can fit into such short compositions, with ‘Infinite Hypernova Collision’ showing the most diverse dynamics the band has to offer with only a four-minute runtime. The evolution of sounds in this track are so engaging that it goes to show that the band could easily just focus on one aspect and excel. But instead, the fact that they can isolate ambient, war metal, harsh noise walls, synthesised sequences and even some slow, doomy black metal parts (that wouldn’t even sound out of place on Bathory’s ‘The Return of the Darkness and Evil’), and then completely meld all of them together as well, is nothing short of brilliant.

It’s shown on Cannibal Coronal Mass Ejections that it’s not just the marriage of two disparate but equally menacing genres that make such a perfect match, but the ability to master and isolate either one, and bring them together in another movement without skipping a beat. ‘Dead Stars Trajectory’ closes the album with a cold and intense drone. Jyotisavedanga have opened a black hole of dense and staggering in-depth music, whether or not that’s what you want to see in the initial barbarity of complete chaotic extreme metal noise.