After a two-year hibernation, REPTILJAN is back! The old lizard has shed its skin again and perhaps aged somewhat, but the same explosive power remains. Archaeodermophagia is devoid of fractured beats that dominated The Hellbender Suite (2005), focusing on howling distortion, pummeling low-end rumble and piercing feedback. This recalls the beginnings of Reptiljan (self-titled debut, 2002), hence the title's reference to eating old skin, perhaps?

Whereas the previous works were boldly digital, Archaeodermophagia was conjured through completely analog means. Distancing itself from "plain noise" there is an obvious compositional (even if spontaneously so) element at work, that defines the structure and space, and invites in hints of melody and a spectrum of emotions wider than the joyous rage that acts on the surface.

The disc comes in hand-made sleeve that an uninitiated bypasser commented, "What are you doing? That's fucking disgusting! Is that hair in there or what? I don't know what you're trying to achieve but it certainly isn't art!" ...each sleeve is more or less unique. Edition of 104 copies, hand-numbered. Includes certificate of authenticity.

Reviews

“Complex layers of sounds are interwoven in a kaleidoscopic mishmash of frequencies, samples and washes of dark ambience with an organic density. At times it seems almost improvised and free-form, and at other times more structured and organised. However, Archaeodermophagia always ensures that it pushes the listener to the edge of their comfort levels before backing down slightly, which ensures that the CD is a harsh challenging listen but never unlistenable.” (Judas Kiss)

“...plays on the senses by introducing diverse elements into the ‘noise’ passages that adds to the sense of the artist as pied piper leading the listener on an ever bewildering merry dance. Thus the use of samples culled from the radio which suddenly appear ad hock in the mix during a relentless barrage of distortion. Couple this with all the stop / go pieces that are seemingly at odds with the overall scheme of things but which, when you become accustomed to them, actually enhance the air of general cacophony that abounds. ... These odd injections add to the atmospheres created making Archaeodermophagia a release that will leave you stunned by its inventiveness. Something which we should all applaud in the long run. Or to put it another way. Archaeodermophagia is the musical equivalent of German Expressionism film… only made in Finland. ... I would suggest that Archaeodermophagia will appeal to anyone into the whole ‘noise’ spectrum of music whilst it also caters for those more into experimental music in general. There’s much enjoyment to be gained from it no matter what musical faction you ally yourself to. Plus... a blood splattered cover is a unique selling point if nothing else.” (Heathen Harvest)

“It’s been a while since we last heard Reptiljan, but here he returns, moving away from the digital area, using bass guitar, contact microphones, fm radio and delay and distortion pedals. Musicwise this has less to do with the breakcore of the previous release, and altogether more with noise. His noise however is not the usual blend of distortion, but Skorpio knows how to balance things. Odd sounds like an alarm pops up, while seconds later it gets washed away in a blend of oceanic noise. Snippets from radio leak through this barrage of sound, but they add a nice extra flavor to it. Now while noise is not always on the daily platter, I must say that when it comes from the likes of Reptiljan it’s quite alright. At least for a weekly digest.” (Vital Weekly)