Self as prison, self as a source of power, self as vessel for manipulation by outside forces, self as shield and as inner world, self as medium for Dionysian rapture, self as something to be overcome.
In the six songs that constitute ‘Self’, the rage of black metal is paired with a cathartic destruction as well as a contemplative, sometimes crawling melancholy. Instead of navel gazing or the worship of constructs, ‘Self’ is analysis forced. A cerebral celebration of liberation at all costs and a requiem for spheres rendered apart.
The artwork of ‘Self’ depicts ants, consumed by Ophiocordyceps. These parasitic fungi appropriate the brains of whichever host they infect, to manipulate and effectively destroy its self-regulating features. Through this annexation, the ants become empty shells of what they once were, governed by a destruction from within, imposed and irreconcilable.