EP Review: Prostitution – ‘Egyptian Blue’

High levels of activity, thriving urbanization, fortification in disposition and a mysterious yet entrancing underbelly are all indefatigable qualities associated with Brooklyn. One lesser-known concept hailing from said place would be the incorrigibly experimental blackened metal group Prostitutionwho evidently are set to release their new cryptically titled EP Egyptian Blue’ on 10 October 2017. The group is a power trio consisting of bassist/vocalist Jesse Adelson of Beast Modulus, guitarist/vocalist Russ Cowen of Black Harvest and drummer Jason Spence of Demilitia. The EP was produced and mixed by Anthony Lopardo and Raymond Marte and is an independent release. 


What may appear shocking at first to a metal audience is the nature of the album cover, which, in essence is fairly redolent of the sort of imagery a contemporary EDM artist may utilize with its lavish, iridescent, neo-psychedelic and satin landscape. One aspect remarked about the group is that there’s an underlying form of self-deprecation and ironic humour to be found beneath the seemingly murky surface of the music. If indeed the album cover’s concept was intended to be a tad droll then for me it’s a complete success as it definitely bestowed upon me a level of appreciation seldom gained by modern heavy-rock album covers. They certainly aren’t a dance group but they do gravitate a little bit from conventionality.

It begins with a track ambiguously titled Hypergiant’ and it really does toss the whole kitchen sink in there. From the get-go it is sprawling, loud, chaotic but is always quick to deviate from rampaging blast-beats in search of more solid rhythmic displays. After you study the group’s attempt at creating the feel of total commotion you are transported to their more mellow offerings. Yes, black metal can be plunged in blissful serenity if one tries hard enough. Phased-induced guitars, slower tempos and slightly oneiric soundscapes take centre-stage for abruptly thirty-seconds before the song is yet again consumed in frequent alternations between groove-based intervals and fast, tremolo-guitar rhythms. I’d say this is the track here where the group really showcases how far their sound stretches across the border. One particular reference commonly noted is that they have a strong Pink Floyd influence. That, I cannot hear very much, but I can definitely sense that they’re influenced by groups that are influenced by Floyd, as ‘shoegaze’ is indubitably a definitive fraction of the group’s musical repertoire, even if it isn’t explored to its greatest lengths on this particular EP. Next you have the song The Boat’ which is the shortest and probably the most aggressive song. It is concise, clocking in at four-minutes and it’s where the group fully explores a more grounded territory. Third and final song ‘Elevated Droves’ is evidently the longest song and it’s where the group feature a lot of interesting tempo and time signature changes. Not ‘proggy’ by conventional standards but certainly progressive in its own right. They are a thought-provoking, experimental and forward-thinking group whose fanbase I think is highly likely to increase after the release of this demonstrative EP.


Jesse Adelson – bass / vocals                                                                                                                                                            Russ Cowen – guitar / vocals                                                                                                                                                              Jason Spence – drums

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