Perplexed in a state of permanent despondence New York, New York-based post-industrial metal solo act SIRE LANGUISH generate a nightmarish mechanism for personal enlightenment within the course of this self-built debut EP. ‘Pull to God‘ is an omen as much as it is an achievement in self-hypnosis, a solo record which flexes a long-developed personage while speaking from dread-filled throat as the artist brings their own genesis to the rigidity of early industrial metal and post-punk dissociation. While some methods are long ingrained per their naturally arrived-upon flow others are exploratory and even surprisingly extreme per the given parameters making for a hypnotic but not-so sedate experience.

Sire Languish comes from the mind of Garett Bussanick who is best known as one third of Flourishing and one fourth of Aeviterne, experimental death metal bands that were/are broad minded in seeking atmospheric and technical venture. Rather than present this newer project as cast-offs from current efforts the artist suggests a creative thread which actually stretches back ~thirty years to 1995 when he’d been a part of New Jersey based experimental grindcore band Cardiovascular Sub-Hypothermia where influences from death metal, Godflesh and such were evident then just as they are now. The proposal for the material we find on ‘Pull to God‘ is something more approachable, a mesh of both dissonant and melodic movements inspired by the motorik ticking of industrial metal and post-punk without losing the severity of extreme metal sound design.

Dissonance-in-phrase, or, rhythm guitar voicing built upon obtuse stance is how I’d describe the distraught appeal of Sire Languish‘s work as the buzzing fixation of ringing dis-harmony stretches across the first two songs on ‘Pull to God‘. This, paired with beats fit for ‘Dustbowl‘ and ‘Fire Dances‘ alike makes for a feat of dread and menace as Bussanick‘s vocals snarl and echo across the dark desert-bound grime of each piece. The opener/title track (“Pull to God”) is feasibly accessible for its nuanced progression and hypnotic atmospheric push whereas the nightmare more fully begins within the tormentation of “Consuming the Mother”, a less approachable and more atmospheric piece which allows the artist to flex within the flow a bit more and incorporate different vocal expression. This first half of the EP feels most dire, locked in and fuming.

‘Pull to God‘ is an experience which demands a slice down the middle since the two pieces which follow dictate a slightly different stance on the drain through as slightly more prominent synth use as well as increasingly active drumming develop on the back half. This EP features the first performances from Bussanick as a drummer though I don’t know if that pertains to composition or performance (or both) but on “Sow of Nerves” and “Heaven’s Night” we get more complexly lain, restless movement in this regard. While the former is arguably the most “normal” feat on the EP it has a sort of post-hardcore informed guitar progression to my ear, creating some of that 90’s alt-metal/2000’s post-metal estrangement (or, re: ‘Selfless‘) in the way it dissolves toward a triad hewn endpoint. “Heaven’s Night” by comparison is closer to the avant-garde extreme metal you’d expect from the guitarist of Aeviterne per its post-black beaten kicks alongside cross-armed use of distorted bass and clean guitar slashes as the artist rants and roars through the piece.

All four of the songs on ‘Pull to God‘ quickly begin to escape the idea of approachability and instead reek of their own vibe, an ominous and venomous sort of brood which ends up being well-braced by a broad oeuvre and an ear for repeatable detail. The greater effect of the full listen is most immediately dread but almost speaks to captivity, a weight upon the protagonist which speaks to existential and spiritual dimming. In this way Sire Languish creates a more than compelling debut EP which is at first identifiably an “industrial metal”-adjacent deal yet convinces of much broader intent via its total spread. The right balance of hellish and infectious traits are struck here for my own taste and I figure whether you’re just a fan of Bussanick‘s associated bands or trip over Broadrick-esque tones the potential here should be obviate enough. A moderately high recommendation.

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