20 Buck Spin releases Persian Pillars Of The Gasoline Era, the new LP from Prurient and Rainforest Spiritual Enslavement architect Dominick Fernow, under the VATICAN SHADOW signature. One of the most prolific underground artists of the 21st century, living his art down to minute detail, Fernow’s penchant for seamlessly spanning underground subcultures finds VATICAN SHADOW now aligned with 20 Buck Spin for the first time, the project’s first album to be released on a domestic label after a very prolific decade of existence.
For a decade now, VATICAN SHADOW has blurred the lines of rhythmic industrial, ambient, and soundscapes to weave throbbing frontline communiques of war, terror, media manipulation, and anxiety disorder. To further intensify Persian Pillars Of The Gasoline Era, Fernow secured Justin Broadrick (Godflesh, Jesu, JK Flesh) for the painstakingly detailed mastering process, adding the mysterious vibrance of cold morning mountain light that presages a conspiracy about to unfold. Completed with photography by Anonymous Soldier, the record is a must-hear for fans of Muslimgauze, Prurient, Badawi, Raison D’Etre, Tangerine Dream, Justin Broadrick, Haxan Cloak, John O’Neill, Marc Sageman, and the like.
Experience VATICAN SHADOW’s cinematic Persian Pillars Of The Gasoline Era at THIS LOCATION
An unquestionable heaviness permeates the organizational structure of VATICAN SHADOW, never more apparent than on Persian Pillars Of The Gasoline Era, and while prior devotees of the scripture will continue to find it approachable, here now the doors have been flung wide open to an entirely new realm of memorialist iconography.
Thematically, Persian Pillars Of The Gasoline Era connects the dots of America’s under-documented overthrow in Iran of one of the first advocates of self-reliance and democracy in the Middle East, to the bedrock of violence that would later erupt post-Gulf War and suffocate the world economy in 2001 on US shores. Here, the deconstruction continues, with layers of collaged synth stabs, low end pulsing dread, and ominous sand-swept melodies. And where VATICAN SHADOW often sets a rigid musical focus with each release, here the full multi-faceted embodiment of the project comes to fruition from hypnotic dance floor repetition, cold metallic percussion, martial bass strikes, and dark melodic noise.
From performances in the Balkans, the Middle East, Mexico, Tasmania, Russia, Georgia, South America to recent tours across Asia, Fernow’s VATICAN SHADOW is a global entity reflecting the network of power designs/products that spread indelibly from the War on Terror and America’s involvement therein returning to haunt the decaying edifice of the West.
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