The experimental dark metal moniker of Mories (born Maurice de Jong), the Netherlands’ Gnaw Their Tongues (named after a verse in the Bible) first started releasing work in 2006 using the full-length CD Spit at Me personally and Wreak Havoc on My Flesh a year after “formation.” Much like most one-man dark metal/noise tasks/rings/clothes/etc., Gnaw Their Tongues’ result over another two-plus years was prolific and intensive, including a lot of EPs, several splits, and full-lengths. After Spit at Me, some of the aforementioned EPs implemented prior to the 2007 discharge of full-length number 2, Reeking Pained and Shuddering, that was quickly accompanied by two EPs and another full-length on Crucial Blast — An Epiphanic Throwing up of Bloodstream — afterwards that same season. The entire year 2008 would discover Gnaw launching two divide albums (with Constructing Enochian Temples, Mary Magdalene, and Narcosa) and a set of EPs (Devotion as well as for All Slaves…A Tune of False Wish) but, moreover, it could also start to see the discharge of the remastered and re-edited edition of Spit at Me personally. The bludgeoning All of the Dread Magnificence of Perversity found its way to 2009, implemented this year 2010 with the lighter and even more orchestral L’Arrivée de la Terne Mort Triomphante. Released in 2011, Per Flagellum Sanguemque, Tenebras Veneramus noticed Mories go back to the more immediate and aggressive strategy of previous outings, as do 2012’s Eschatological Scatology and 2015’s Abyss of Longing Throats. Hymns for the Broken, the project’s 13th studio room long-player, implemented in 2017.