• The cover of Omen Ex Simulacra

I first covered Ævangelist a year ago, upon encountering their 2012 full-length debut, De Masticatione Mortuorum in Tumulis (Voidhanger). That album was among my picks for In Rotation: “This mysterious band—split between Portland, Oregon, and Arlington Heights, Illinois—belongs to the ‘crawling chaos’ school of death metal,” I wrote. (Or black metal? These things are rarely as clear-cut as one might wish.) “Like a plague of insects, its formless dark is incalculably huge but moves with terrifying speed: layers of keening and buzzing converge like swarming wings, and guitars flash like faceted eyes from a murk of cavernous growling and serpentine bass.”

At the time I assumed I’d never have a chance to see Ævangelist in the flesh. As far as I could tell the band had only two members, living two time zones apart—not the sort of arrangement that screams, “Yes, we are definitely going to put together a touring band!” But lo and behold, they’re playing Saturday at LiveWire Lounge. (I’m gonna head over after the Whammies set at Constellation, because my musical taste makes no sense.)

According to the press release for a February 21 double-LP reissue of De Masticatione Mortuorum in Tumulis on Swedish label Blood Harvest, Ævangelist consists of Matron Thorn (credited with “music/noise”) and Ascaris (“voices”). M. Thorn is also the sole consistent member of Benighted in Sodom, a prolific bedroom black-metal project that has included Ascaris for live shows. Ævangelist appears to have a touring bass player who goes by ][ (or something like that), but frankly I don’t even know how many people to expect onstage.

Today’s 12 O’Clock Track is from the second Ævangelist LP, Omen Ex Simulacra (Debemur Morti), released in late November. “Seclusion” is a gnashing, evil tornado of a song—it sounds like a cloud of apocalyptic messengers dispassionately scouring the planet of life. Enjoy!

Philip Montoro

Philip Montoro has been an editorial employee of the Reader since 1996 and its music editor since 2004. Pieces he has edited have appeared in Da Capo’s annual Best Music Writing anthologies in 2005, 2006, 2007, 2008, 2010, and 2011. He shared two Lisagor Awards in 2019 for a story on gospel pioneer Lou Della Evans-Reid, and he’s also split two national awards from the Association of Alternative Newsmedia: one for multimedia in 2019 for his work on the TRiiBE collaboration the Block Beat, and one in in 2020 for editing the music writing of Reader staffer Leor Galil. Philip has played scrap metal in Lozenge, drummed with the Disasters, the Afflictions, and Brilliant Pebbles, and sung for the White Outs. He wrote the column Beer and Metal from 2012 till 2015, and hopes to do so again one day. You can also follow him on Twitter.