(Andy Synn engages his inner art critic as he plays host to the premiere of the brand new album from Ingurgitating Oblivion, set for release this Friday via Willowtip Records)
I’ve said this before, but it bears repeating – the word “masterpiece” doesn’t mean what you think it does.
While it’s often (all too often, in my opinion) used as an almost throw-away term to hype up whatever the latest flavour-of-the-month album happens to be getting the most buzz, the reality is that a true “masterpiece” is just that – it’s a piece of work demonstrating your mastery of your chosen artform, one which your peers all agree earns you the right to call yourself a “master” of your medium.
And, by any measure, Ingurgitating Oblivion already unveiled their masterpiece, in the form of 2017’s career-defining Vision Wallows in Symphonies of Light, quite a few years ago.
But here’s the thing they don’t tell you about producing a masterpiece… once you’ve done it once, you don’t have to do it again.
Sure, some artists do, but a lot of them take the opportunity, now that they’ve proved themselves, to take more creative risks and experiment with both form and function, to push the boundaries and expand their horizons, with an almost devil-may-care attitude as to what might happen.
And that’s exactly what Ingurgitating Oblivion have done with their new album, Ontology of Nought.
