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Transfer Trachea Reverberations from Point: False Omniscient

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Album Review

Canadian quintet The End are berserk purveyors of inscrutable sonic mayhem. Their extensively named Transfer Trachea Reverberations from Point: False Omniscient album offers a densely chaotic, seemingly free-form collage of hateful, two to three-minute bursts. Over the course of the seven, Grindcore-inspired sonic deconstructions that are violently projectile-vomited here, the group is quite honestly a musical masochist's delight. On the rare occasions when they are unearthed, straightforwardly head-banging riffs and melodic moments of clarity (see "Opalescence I," "Sonnet" and "Entirety in Infancy") are bound to provoke near-tears of relief, and yet their unexpected appearance only makes the surrounding dementia all the more alluring. Needless to say, this is not music for the weak. Being an accomplished musician, brain surgeon or both isn't necessary, but it helps. Even many of the most adventurous sonic explorers will quickly look away in confused shock and disgust; but for the few, the proud who never saw a challenging record they couldn't digest and ultimately decipher given enough time and patience, this one's a classic conversation piece.


Formed: 1999 in Canada

Genre: Rock

Years Active: '00s

Canadian post-grindcore extremists the End were formed in spring 1999 by vocalist Tyler Semrick-Palmateer, guitarists Steve Watson and Andrew Hercules, bassist Sean Dooley, and drummer Anthony Salajko. After strenuous touring across southern Ontario and occasional visits to the U.S. East Coast, the band committed its extremely heavy, dauntingly complex music to tape with 2002's Transfer Trachea Reverberations From Point: False Omniscient release. New...
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Transfer Trachea Reverberations from Point: False Omniscient, The End
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