Bjarm – Imminence

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Listening to Imminence, the debut album from Russian symphonic death/black metallers Bjarm, is like standing in the middle of two separate but merging dramatic climates. Walking the line between beauty and savagery, both extremes embracing each other for a tumultuous ravenous tempest, imagination and emotions are buffeted and stripped raw yet simultaneously seduced and exposed to gloriously epic and invigorating ambiences. The release is an enthralling and intimidating journey, a treacherous and at times disorientating conflict but dramatically compulsive and rewarding.

The Severodvinsk band was formed in the early months of 2009, taking its name from a territory mentioned in Norse legends and tales. The following year saw their demo Defect released, live shows, and subsequently as the next year fell changes in personnel before the band settled down to work on their first album. Self-produced, the Pavel Korotaev mixed and Tony Lindgren (Paradise Lost, Kreator) mastered album was recorded last year and has emerged as a striking and potent introduction to the impressive band.

The scene and atmosphere is imposingly set by opener Approaching of the Close, an instrumental with the charmed harmonies of angels and portentous intimidation of war. It is an epically rising portrait of the time and land Bjarm-Imminence Cover Arttheming the release, every scenic exposure caressed by orchestral beauty and dark shadows within predacious climates. Though it does not come with many surprises in its cinematic grandeur, the track grips attention ready for the opening clutches of Knowledge of Doom. Riffs rub invitingly on ears first whilst the symphonic lure of keys swirl with melodic intrigue, both swiftly joined by pungent rhythmic strikes and the throaty rapaciousness of the bass. The track expands its magnetic narrative musically with increasing washes of keys and threatening intensity whilst lyrically hoarse guttural vocals unveil the blackened premise. With siren-esque harmonies gliding overhead the track embraces and violates in equal measure for a formidable and increasingly impacting suasion. The twists do not slow, captivating female vocals laying elegant melodic hands on ears whilst intensity and provocation laps at the senses with sea like relentlessness.

It is an impressive track matched by the heavyweight presence of Ominous Dreams. Rumbles of doomy beats and brewing antagonistic air smothers ears first before keys and guitars cast a web of ill-boding enterprise. It is a strong entrance but the song really gathers pace and riveting invention with a contagiously predatory groove which emerges and the following raw rabidity which fuels a twist in vocals and the sonic toxicity expelled. The mix is insatiable in its voracious intent and merciless attraction, permeating every pore and thought as does the evolving symphonic radiance and melodically rich hues which crowd in later dripping expressive beauty. The track bewitches across its traumatic and thoroughly rewarding landscape before making way for the equally menacing and fascinating enticement of The Nine Worlds. As across the whole release, the listener is thrust into the heart of brutal intent and transfixing melodic romance, the track a battlefield for tenebrous depths and intent with golden hope and enchantment accentuated by again stunning female tones.

Fire Lord’s Torment comes next to make a strong and imagination sparking incitement but despite its skilfully crafted invention and powerfully sculpted textures fails to invite the same strength of passion and hunger for its accomplished offering as other songs, the same slip found by the instrumental title track straight after. Both tracks leave ears and thoughts alive and keen to explore more but fail to leave a lingering and deep rooted impression in their company or after, something the mouth-watering Oracle does not have a problem with. From a deliciously captivating acoustic and melodic coaxing with rising breezes of keys courted by sinew built rhythms, the song sways and immerses senses and emotions in a superbly evocative and spellbinding serenade of sound. Admittedly the caustic vocal scowls which are at odds to the seducing take time to accept but as the song continues to cast its binding spell on the emotions they become a strong texture to the siren song.

Both Secret of the Immortals and The Highest Hall keep the by now greedier appetite for the encounter well fed, the first a provocateur with thrashing swipes of riffs and rhythms aligned to a concentrated charge of intensity. It is a rolling adventure striking out from the poetically smothering melodic breath of keys which also soak the start, an emprise given greater infectious toxins by the great female vocals; something not used enough on the album, as well as unpredictable stabs and scythes of guitar imagination. The second of the two is as primal and brutal as it is rigorously compelling and masterfully incendiary, thanks again to melodies and a female croon. It is a bestial predator at times and a comforting mother’s breast in others, a torment suffocating and strangling hope tempered by the peace and security of instinctive beauty.

Imminence is closed by Tree on the Bones, a threatening and skilled fury to consume the senses but lacking that fuse to full lustful reactions, even though it creates arguably the most intricate and emotion involving proposition on the album. Bjarm has created a striking and at times startling entrance into the world of metal, with only the fact that many tracks are swiftly gone from memory and thoughts once leaving the ears. Nevertheless it is a potential loaded and thrilling incitement to suggest the Russians have a rather healthy future.

Imminence is available now @ https://itunes.apple.com/ru/album/imminence/id889323814

http://www.facebook.com/bjarmofficial

8.5/10

RingMaster 11/07/2014

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Flesh Born – Han EP

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Eight tracks across eleven minutes of raw, senses blistering causticity, the Han EP from US band Flesh Born is a fury to ignite the imagination and test the emotions. It is a raging hostility which merges the voraciousness of crust and grind with the malevolence of black metal for a distinct and unique proposition which offers a challenge of uncompromising antagonism and merciless sonic abrasing. It is not going to be for everyone, especially with its equally strong essence of screamo, but beneath its fiercely grazing surface there is a range of hooks and twisted grooves which easily trap the more adventurous hearted.

Formerly known as Elesh Norn, the Texas quartet’s new release follows their impressive spilt with fellow Texans, the blacked punk duo Cara Neir. Released on Midwest label Skeletal Lightning and with the band’s debut EP All The Pain I Built Up strapped to its B-side as a bonus, Han is primed to thrust the Denton band into a stronger attentive spotlight. As mentioned EP and sound is a raw incitement; from lyrics to vocals, passion to production an unpolished quarrel which demands attention. In some ways its production with its thick coarse touch actually defuses some of the impact of the fire blazing within the tracks but it also accentuates the adversarial presence to leave indecisive but ultimately satisfied thoughts on that aspect of the release.

Han opens with the gentle caress of Unforgivable, well a polite coaxing for a clutch of seconds anyway before riffs and rhythms explode han coverin a frenzied animosity driven by the similarly unbridled ferociousness of Miles DeBruin’s vocals. It is an immediately debilitating onslaught but one veined by highly tempting sonic hooks from the guitar of Parker Lawson. Little jabs and strands of melodic discord tease the senses to give the minute plus suasion of the song an infectious lure within the tumultuous swamp of jaundiced energy conjured by drummer Daniel Mitchell and the throaty bass spite of Donovan Ford. It is a strong and magnetic start instantly swamped by the thick intensive and malicious energy aligned to predatory passion of Destroy the World of Men. A wall of sonic argument to buckle knees, it is punctuated with tenacious heavy swipes from Mitchell which again add that something extra and distinct to set the track apart from its companions and other genre crossing protagonists.

The stringent force of Lament sears ears and senses next with forty seconds of primal antisocial bitterness before the melancholic acrimonious prowl of Gloom infest thoughts and emotions. With a sludge air to its pestilential intent and cavernous resonance, the track is a labour intensive proposition and an intimidating long term engagement which though presenting a longer confrontation than most on the release at over two minutes flies by with its corruptive tsunami of sound and intensity.

The Fever of Feeling launches a thunderous stride of riled rhythms and desperately rapacious riffs under the scorching squalls of DeBruin, its furnace a bestial but addictive bait to devour greedily before being succeeded by the acerbic and senses battering weight of Empty. Less gripping than others but as potent in consuming thoughts with its provocative intent and scarring raw sonic scalding, the track is a satisfying rub soon surpassed by the thirty second crippling assault of The Body System. It is an intriguing almost mesmeric flow of sonic lava veined with distorted melodic invention which just re-ignites the passions.

Final track The Other Side of Despair is a virulent contagion of abrasing riffs and predatory slow rhythms around a delicious flesh burning groove and brawling chords. It is a bewitching acidic maelstrom presented in a calm but no less furiously passionate way than elsewhere. It also steals best song honours with ease and leaves the listener with an even greedier appetite for Flesh Born.

Han is a riveting and thoroughly satisfying encounter showing its creators as a band with the potential and craft to rise to major heights at some point ahead. Right now though, Flesh born has given us a release which takes its toll on the emotions but rewards with a highly enjoyable outrage.

The Han EP is available on 12” vinyl via Skeletal Lightning now @ http://www.skeletallightning.net/products/526535-flesh-born-han-12

https://www.facebook.com/fleshborn

8/10

RingMaster 24/06/2014

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‘GENERATION GRAVEYARD’ are Lonewolves, on 21st July‏

Generation Graveyard Online Promo Shot

LONDON NOISE CHIEFS GENERATION GRAVEYARD RELEASE DEBUT EP!

 

Hotly-tipped UK metal punks ‘Generation Graveyard’ are poised to break out to the nation with their blistering new EP ‘Lonewolves’, which hits stores on Monday 21st July.

Inspired by urban isolation, an outcast lifestyle and social upheaval, Generation Graveyard are candid and straightforward, refusing to bite their tongues and be pigeon-holed. With a vast cross-section of influences stemming from hardcore, old school rock n roll, black metal and crust delivered with a vicious punk venom, Generation Graveyard have established themselves as the antithesis to the UK music’s current alternative scene.

 

Conceived at the end of 2009 and hailing from London, Generation Graveyard are 100% committed to the execution and creation of their craft. Through widespread gigging and intense rehearsing, the rising five-some have finely tuned their live show, which has led to them being selected for support slots with names such as The Misfits, Anti-Nowhere League, The 69 Eyes, Breed77, Black Breath, Viking Skull, Warrior Soul and The Defiled. The Londoners have also recently successfully supported Breed77 on their full UK tour.

 

Now the stage is set for the lively noiseniks to firmly stamp their mark on the UK scene and they have the ammunition in the shape of their new EP ‘Lonewolves’. The record bursts out of the blocks with the pounding openings of ‘Abominate/Desolate’ which goes right for the jugular and it’s a real introduction to what’s ahead. The blistering punk rock fury of ‘Human Hive’ is next up, as it attacks your senses at breakneck speed. The stout ballsy vigour of ‘The Empty’ continues in supreme vein before the vibe shifts with the industrial guile of ‘Deletist’. The record closes with the anthemic and down-right fantastical ‘Lonewolves’. Miss this band at your peril!

Generation Graveyard - Lonewolves EP cover

-GENERATION GRAVEYARD UNLEASH ‘LONEWOLVES’ THROUGH ALL STORES ON MONDAY 21st JULY-

https://www.facebook.com/GENGRAVE

Architect Of Disease – Open The Hearts

ArchitectOfDisease-OpenTheHearts

Uncompromising and ravenously intrusive, Open the Hearts the first album from Polish black metallers Architect of Disease is an incitement which without firing up the passions to the fullest blaze is a compelling and inventive examination of the senses. A web of melodic toxicity and sonic voracity within oppressive and blackened emotive atmospheres permeates ears and beyond across the seven track length of the release, making for an intimidating and captivating tempest of sound and intent. It is not always an easy listen or is able to grip the imagination with the same tenacity throughout but Open The Hearts is an album which heavily pleases and persistently lures attention back to its skilful persuasion.

Coming out of Łódź, Architect Of Disease emerged at the tail of 2011, rising from the demise of Iugulatus when vocalist Balrog left the band. The rest of the band decided to carry on but with a new name. 2012 saw them enter the studio to record Open The Hearts with new vocalist Wilku alongside guitarists Markiz and Matys, bassist Morbid M., and drummer Wojtass. Since the recording Wojtass has left the band to be replaced by Michal whilst the album itself marks Architect Of Disease out as deserving plenty of attention.

The release opens with Leviathan Prayer, an immediately rigorous charging encounter with sinewed crafted riffs and equally imposing rhythms. As hoarsely throated raw vocals enter the scene, the song takes a step back in its gait to venture into more of a prowl. It is a momentary thing though as the track soon pushes its accelerator again before seamlessly entwining both attacks across its remaining exacting body. The rhythmic work of Wojtass impresses as forcibly as the rich designs cast by the guitars, both enslaving attention upon which the less accessible but ultimately persuasive vocals squall venomously. It is a dramatic and gripping start swiftly built upon by Bones Regime, its ferocious opening a searing provocation for ears and emotions. There are similarities between the track and its predecessor in its structure and its incitement of certainly riffs and drums, something which across the album is a tempering defusing of the invention otherwise sculpted, but it cannot prevent the track from setting a new plateau for the enthralling encounter.

Both In the Blaze of Havoc and Without Divine Intervention roar and abrase with voracious animosity and virulent hostility, the first of the two unveiling its predation through bewitching sonic strands of endeavour and a similarly contagious core groove within a blistering ferocity. Its successor brings a heavier heavy metal vehemence to bear on ears as it launches its presence straight at the jugular. With a vitriolic groove and raging vocals, the song soon has a vindictive swagger and stride to its resourceful savagery with the bass a gloriously testy and dark throated instigator. The best track on the album, it stomps and stalks with bestial intent and muscular rabidity whilst showing more of the individual skills of the band members, their songwriting, and the potential still to be fully tapped.

The title track lacks the impact and addictive nature of the previous triumph but still makes for a riveting violation with its melodic weaves and ill-tempered fury especially the evocative slip into an atmospheric peace mid-way which is subsequently smothered by the rabid heart and assault of the song. The track leaves on an inhospitable but magnetic climax which is followed by the merciless and surly Rejection of the World, another track which arguably does not give enough diversity within itself and against other tracks but nevertheless makes for a rough-handling potent temptation.

The fifteen minute plus Devour the Sun brings the release to a potent conclusion. The song is a crawling pestilence which malevolently embraces every thought and emotion, slowly seducing and consuming their hope with its depressive intensity and malignant heart. It is too long to enslave personal attention throughout but when it does the track is an absorbing rancor which again impressively provides a portrait of the band’s skills, imagination, and promise.

Open the Hearts has plenty to feed the wants of all black and melodic extreme metal fans. It may not be an album to set the passions into overload but it is easily a deeply enjoyable release to mark Architect of Disease out as a band to watch very closely.

Open the Hearts is available via The End of Time Records now!

https://www.facebook.com/pages/Architect-Of-Disease/425689324215174

8/10

RingMaster 06/06/2014

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Deep Desolation – Rites Of Blasphemy

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Casting a captivating web of sludge and doom drenched black metal ripe with fiery psychedelic grooves Polish metallers Deep Desolation make a very convincing argument for turning to the dark side with latest album Rites Of Blasphemy. The release is a venomous yet irrepressibly magnetic soundscape to a blasphemous occult driven world, an encounter which as the greatest evils has an irresistibility which says all is well as it infests with ruinous intent. It is not always a kind listen though and carries a few niggles which stops it making and even greater impact but from start to finish, Rites Of Blasphemy makes for a compelling and potential soaked enjoyment.

Hailing from Łódź, Deep Desolation was formed in 2009 and within a year creating their debut album. Released via Quid Est Veritas Productions/The End Of Time Records in the February of 2011, Subliminal Visions made for a formidable introduction to the band and its sound. A line-up change followed before the band provided two tracks for the split release Chapel of Fear with fellow countrymen Primal and Iugulatus that same year. From there the quartet of vocalist/guitarist Meriath, guitarist/vocalist Markiz, bassist Piorun, and drummer Wilku, set about working on their second album, a release which steals attention from the outset, never relinquishing its grip until the last note of its demonic fascination.

Rites Of Blasphemy opens with the epic persuasion of Between the Tits of a Witch. From a sinister landscape of disturbing DD coverwhispers within an intimidation ambience, thick predatory riffs and ravenous rhythms seize senses and thoughts as rasping venom fuelled vocals slowly squall over their brewing toxicity. It is an instantly striking and appealing mix which flirts wantonly as it worms around and into the psyche. Acidically sculpted grooves add to the captivating bait, their touch and enticement fiery as they sear air and ears with inventive design. Within the caustic beauty and at times seductive enterprise, there is a threatening underbelly of rabid shadows and merciless malevolence working away led by the raw vocal spite. All combined, the track makes an excellent beginning to the album, a constant trigger for the imagination to erupt from but it does push the limits of its stay at almost ten minutes in length with no major deviations in its concentrated languid prowl.

The following Searching for Yesterday emerges from a potent heavy metal coaxing into a darker rapacious but no less gripping provocation. Riffs and rhythms all carry a heavier intensive weight and throat to their attack and sound, as does the malice seeping vocals, though this is tempered by the spiteful grooves and great individual endeavour of the guitarists. The track has a bestial breathe to its body which is accentuated by the distressing landscape of the instrumental Intermezzo. The piece is a demonic insight into the stomach of hell, a maelstrom of lost souls and suffering sounds which is quite mesmeric and provocative before it leads to the doorway into Blasphemous Rite. Rich transfixing grooves entwine around ears as riffs, aligned to thumping and agreeably challenging rhythms, heavily consume the senses. The song as the album prowls and preys on senses and emotions, a creative predator happy to skirt around and intimidate its victim with riveting lures of sonic adventure and intrusive melodic toxins. Like many of the tracks and again fair to say the release itself, the encounter does not ignite and burn as ferociously as you hope and expect but that cannot prevent it making a sizeable impression and deeply satisfying proposition.

The expansive length and weight of Mroczny Hymn comes next and though it also outstays its effective suasion at over eleven minutes, the track does not fail in taking thoughts and emotions on an intrusive and in many ways a cinematically expressive journey which excites the imagination. The guitar craft is especially inciting and impressive within the tempestuous soundscape, as is the rhythmic stalking, but it cannot prevent the track losing its richest hold on attention more than once across the length of time it engages the ear.

Cuius Regio / Eius Religio offers an almost insidious tone and menace through vocals and the venom infused grooves and hooks which wind around the raw caustic rage of riffs and the just as exacting rhythms. The song’s thrilling slightly pestilential call is swiftly backed up by I Became Your God, a track from the start encroaching on ears with great abrasing ravenous riffs which are soon in league with devious grooves. The track moves through evolving gaits and changing strengths of rabidity as it hunts down emotions for just one more commanding pleasure.

The album closes with the exhaustive weight and predatory oppressiveness of Necromouth, a final track impressing whilst confirming the craft and might of the band’s songwriting and invention. With essences of bands such as Cathedral, Pentagram, and Carpathian Forest to their sound, Deep Desolation is a band fans of sludge, doom, and extreme metal should definitely be checking out.

Rites Of Blasphemy is available via Darkzone Productions now!

https://www.facebook.com/deepdesolation

8/10

RingMaster 06/06/2014

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Valdrin – Beyond the Forest

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There are two sides to Beyond the Forest, the debut album from US black metallers Valdrin; one a flowing landscape of poetic imagination basking in colossal emotive melodies and enveloping atmospheres and the other a pestilential savaging infesting senses and thoughts. Both are irrepressibly compelling and entwined into a masterful captivation of ruinous intent. Brewing an enthralling toxin of black metal with twists of thrash and death metal bred voracity, Valdrin is an attention grabbing and exciting new protagonist, and their album a demanding and intensive experience which makes you work for its rewards but offers them impressively.

Hailing from Cincinnati, the trio of Carter Hicks (guitar/synth guitar/vocals), James Lewis (bass), and Ryan Maurmeier (drums) have drawn comparisons to the likes of Emperor, Bathory, and Dissection with their uncompromisingly creative scourges masquerading as songs. Their music is not just ravages of the senses though as the trio’s ability to cast weaves of orchestral and intimate beauty woven with riveting melodic design within angrily tempestuous climates and assaults is bewitching. As mentioned it is not an easy accessibility offered by band and album but one which fills and ignites every spark of a synapse, thought, and emotion.

Beyond the Forest emerges through instrumental A Drain in the River, it a heavily portentous and disturbing scenery of dark menace valdrin-beyondtheforestand emotional suffocation leading into a world of danger and tormented souls. The journey of the album is menacingly afoot and soon thrust into the malicious jaws of the title track. Riffs and rhythms rampage with a pack like rabidity from its first breath, never reining in its voracity even as insidiously serpentine vocals and warped sonic grooves spread out from within the maelstrom. The track is a savage aggressor but one with sleek invention and sonic poise to not temper the hostility but certainly shed a magnetic light over its violence. The narrative of the ten minute adventure is venomously expressed by the acidic vocals, their presence another aspect to acclimatise to but embraced heartily before the track is in its final throes of animosity. With a terrain which is persistently evolving and shifting the band immediately shows the depth and invention to their songwriting and imagination. With classical guitar and melodic reflection as absorbing as the ferocity burning elsewhere, Beyond the Forest is a masterful and gripping continuation of the entrance into the heart of the album.

The individual skills of the band is a constant open source of pleasure, the following Rusalka Succubus right away continuing the almost progressive flair each member explores within the vicious turbulence and spiteful malevolence bursting from each track. Again the song is an intensive oppression on the senses at its core, a thick abrasion which alone would be hard to penetrate or arguably endure; it is scored and laced with irresistible melodic grandeur and ingenuity though which simply seduces ears through to emotions as a ghostly elegance calls with sirenesque persistence from within the beauty.

   Serpent Willow launches at the senses next with a flailing barrage of rhythms and ravenous riffs, a thrash seeded bitterness driving the thrust of the song. It is a tremendous violation of ears, a savage bestial ferocity which digs deep and long with its rabid hooks and insatiable grooves before making way for Impaled Visions Breed Within the Vines. This is another track where the thrash instincts of its primal intent steers the rage but where its predecessor is single minded in its attack, this thick wind of sound and emotion breathes with a celestial grace and melodic appetite within a rapacious animus. As with most tracks the song needs time to unveil all of its dark crevices and evocative structures but the bait right away is merciless and an ever increasing lure as the track reveals its glory.

Both Calling to the Canidae Hordes with its refreshing but malicious flume of bad blood around a spellbinding enticement from the guitars and the epic flight of Through the Catacombs enslave attention and imagination next. The first is a galloping call to arms, an almost festive swagger and glee to its web of sonic endeavour shining from within an open rancor whilst the second of the two songs is similarly buoyant in its suasion but darker and more intimidating in its shadows and clawing rhythmic nagging. As with all breath-taking melodic sculpting and evocation brought by Hicks it comes under an exacting examination of not only drums and bass but his vocal enmity, but always succeeds in making an impacting persuasion. It is a masterful mixing by the band under a great production which whilst clouding and accelerating the dark cavernous pressure of songs allows clarity for the caressing intricacies and inciting melodies of songs. The brilliant and exhausting race against time fuelled torrent of riffs and rhythms at the tracks climax is mouthwatering, igniting a greedy appetite for the demonic beckoning and pillaging of the senses from Come Forth. Thrash riffs and tenacity again infiltrates and swamps the passions, the track a blistering and scintillating onslaught with thrilling guitar toxicity.

Through the nefarious yet enchanting call of Darkness as Black as Evil and the infernal climate of Battles in the Medieval Sky, band and album cast new and constantly twisting provocations whilst an expansive submergence into In the Vortex of Time / Relinquish Flesh is as breath-taking as it is disorientating, the heart of the blackest soul wrapping its damned elegance tightly around the senses. As all songs on the release, the tracks are never a clear or straight forward picture as inspired ideation and creative bravery contrasts and complements the heart of songs.

Closing with the impressive drama and rich melodic colour of Forgotten Souls and its final dark invasive premise, Beyond the Forest is a fascinating and richly exciting introduction to Valdrin. Do not expect to understand and discover everything about the band and what they have to offer quickly or easily but that just makes their album a long-term investment for the imagination and passions. Valdrin has the potential to be very special; they are half way there already with their deeply striking debut.

Beyond the Forest is available through Blasthead Records now @ http://blastheadrecords.bandcamp.com/album/beyond-the-forest

https://www.facebook.com/valdrinausadjur

8.5/10

RingMaster 04/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Morbid Slaughter – Wicca

MORBID SLAUGHTER BAND

On the evidence of their new 7” vinyl release, there is something definitely compelling about being examined by the exacting thrash fuelled black metal malevolence of Peruvian metallers Morbid Slaughter. They have a sound which is vociferously raw and rigorously invasive and taking the two tracks within new release Wicca as an introduction, magnetically riveting.

Formed in 2009, Morbid Slaughter explores themes of horror, witchcraft, and murder in their encounters, earning a potent reputation in South American metal and apparently in Atlanta. The Lima quartet of vocalist/guitarist AER, bassist TERRA, guitarist IGNIS, and drummer AQVA unleashed their first demo release, Ensayo in 2010 followed two years later by the Torment in the Crypt Demo and last year The Summoning of the Graveyard Ghouls Demo. 2014 has seen already the …Rancid Death Awaits 2014… album released, a compilation of the previous two EPs on Putrid Cult but it is the new Boris Records released Wicca which excites as the band has their first release to be offered to the world.

The title track starts things off and within a breath has ears up against an eager and vibrant scrub of riffs. Crisp punchy rhythms add to the MS_Wicca_7inch_cover_artbrawl which is already squaring up to the senses, their union with the bass a relentless rapacious antagonism. It is unfussy thrash metal roaring in the ears but one seeping blackened malevolence especially in atmosphere and through the serpentine vocal rasps. It is not a perfect proposition, the vocals of AER across both songs simultaneously agreeable yet a little off-putting but to all extent and purposes do convince after numerous forays into the pit of the release, though personal taste still has a little reservation. Also the production is not the best, suffocating the spark of the songs in many ways stopping them from flaring as you feel they should, but to be fair the first song is a festering storm of metal sculpted rock ‘n’ roll which recruits a hungry appetite for its highly satisfying incitement.

The insidious contagion and malicious intent of Wicca is followed by The Nightly Breath of God, another track which reaches from the dank blood sodden earth with a thrash spawned pestilential voice and heart. Riffs and grooves coax the passions with further impressive bait whilst rhythms splinter bone and air with swinging spite as the psyche grasping vocals crawl over thoughts and emotions with toxic syllables and raging rabidity. It is a great track which as its predecessor, survives the obstacle of the production to impress and inflame a real appetite for the band and its sound.

Morbid Slaughter is a thrilling and enthralling encounter, the perfect protagonists and soundtrack providers for a truly vicious adult version of Tales From the Crypt or Night of The living Dead in our view, and a sonic plague easy to recommend extreme metallers and fans of bands such as Sabbat, Carpathian Forest, and Sarcofago allowing to venomously finger their attention.

Wicca is available via Boris Records @ http://borisrecords.bandcamp.com/album/wicca-7

https://www.facebook.com/MorbidSlaughterOfficial

8/10

RingMaster 31/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Hellgoat – End of Man

Hellgoat_cover_art

If Satan needs a doorway into the soul of the world, US black metallers Hellgoat might just be the perfect vehicle for his malevolence and their new 7” vinyl release End of Man, the pestilential voice to start things off. Consisting of two raw, merciless slices of destructive voracity, the release is the jaws of hell in sonic form.

Hailing from Atlanta, the 2004 formed Hellgoat has been feasting on ears and fears with their satanic brutality from first release, the self-titled demo of that first year. Their uncompromising sound and blasphemous toxicity made a more potent statement in attention with debut album Blasphemy From Serpent Tongues in 2005 and its Graveless Slumber Records released successor, Death Conquers All six years later. End of Man is the band’s seventh release following the Anointed in Blood and Ash EP of 2012, the first on Boris Records and comes ahead of a new album planned for later in the year.

First track Demonic Worship of the Horned Beast emerges from a low key sonic mist, a slow evocative breeze which takes its time to envelop the senses whilst being punctured by resonating rhythms. A chant of holy portentous communion breaks into the brewing design before hell unleashes its venom in an expulsion of annihilation, history erupting in torment as scenic ravaging from the crusades through to the streets of modern civilisation seemingly falling on ears. Riffs descend with heavily weighted design next as the track finally expands its presence, a funereal doom soaked voracity swamping ears and senses before the uncaging of hellish intensity and rapacious urgency, the release of a scourge in sound and intent. It is a demanding and intensely abrasing torrent of causticity, slight grooves as hostile and scarring as the spiteful blaze of sonic brutality and rhythmic bludgeoning. It is not an easy listen but a track with a drama and skilful temptation which is thoroughly compelling and providing more understanding and bait for the imagination to feast upon with each listen.

The release’s narrative is continued and concluded with its title track, a blistering savagery of sonic abuse which is primitively wild and masterfully malicious, and a far more crippling proposition than its predecessor. There is plenty going on within its belly and cavernous depths but beneath the tempestuous tsunami of sonic rabidity it is a hidden adventure which needs the fullness of time to reap its rewards. The track still captivates though, the rasping vocal blaze and scarring animosity a gripping vicious predation though it does not come near to matching the rigorous appeal of its predecessor.

Hellgoat is an incitement which is not for everyone, black metal from the richest infernal fire clad in its rawest barbarity with End of Man the death knell for us all before the anticipated decimating ferocity of the band’s next full-length demonian.

End of Man is available on Boris Records now @ http://borisrecords.bandcamp.com/album/end-of-man-7

https://www.facebook.com/pages/Hellgoat/359498710801448

7.5/10

RingMaster 31/05/2014

Copyright RingMaster: MyFreeCopyright

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Primal – Prophetae

Primal cover

Prophetae is the third album from one man Polish black metal project Primal, an encounter which immerses imagination and senses in an investigative compelling web of sound and emotion. Exploring the themes of madness, darkness, cruelty, and the beauty of apocalyptic prophecies as well as delving into the insanity of man’s minds in creating them, the five track release unveils a tortuous seduction and a caressing abrading which envelopes and permeates everything from ears down to emotions. It is a challenging encounter but one which is simultaneously enthralling and intrusive in its touch, an expanse of starkly toned soundscapes and ravenous fermentation.

Primal is the work of Warsaw musician/songwriter PrimalOne, a project he began in 2008. Across the years he has released a couple of demos, Ominous Deity and a self-titled EP both in 2010, a split with Iugulatus and Deep Desolation, and a couple of albums starting with Deathzone in 2011 and Obłęd a year later, the pair split by the Duch EP. Recorded in 2012 also and released to the rear of last year, Prophetae is bred from the constant anger and defiance to religious idiocy which marks PrimalOne’s creativity and work. As the quintet of songs soaks through the pores and submerges ears, there is a ripe passion aligned to antagonism which spurs on the invention and intent of the pieces, it alone bringing stern textures and imposing structure to the tempestuous evocation of the tracks.

I opens up the release, church bells laying out their persuasion before being suffocated in an avalanche of destructive rhythms and carnivorous riffs; all determined to challenge and consume the suggestive religious peace. The track is ferocious and merciless in its ravaging of the ears, blackening out light and escape as its vitriolic narrative is offered through heavy nasally spoken words and aural predation. The track alone is an exhausting experience, its moments of respite and melodic acidity as magnetic as the fury before and around them. It is not the most violent encounter you will come across within black and extreme metal but one of the most incessant and insatiable, a description applying to the whole album.

The raw breath and glaze of the track adds to the corrosive provocation and pagan-esque whispers of the premise, fuelling extra venom and beauty in the more patient and classically honed parts, a potent blend emerging again in II. From its dark cavernous depths, the track coaxes and seduces the imagination, rhythms ensuring intimidation and danger is lurking whilst the resonating elegance of the track’s entrance brews a rapturous appetite. The track is soon unbolting its raucous energy and corruptive intensity, guitars winding their incendiary and inflaming melodic toxins throughout the heavy attrition spawned body of the track. There is a bolder anthemic urgency to the track than to the first but only within a determined stalking of the listener, the again spoken and generally unintelligible but thought inspiring vocals adding to the dark demonic drama and senses binding success of the track.

The seven minutes III is relatively short within the album but wastes no times in notching up the raw caustic surface lure of the album, steering the listener through a blackened network of crowding sonic corridors and emotive windings, all converging to test and provoke with insidious charm and uncompromising intent. As the track plays out the body feels as if locked in a dungeon of intense and chilling incitement, trapped underground with a coarse and scourge bred presence which toys with the psyche whilst sparking multiple incendiary reactions.

From the choral sample waking up IV, the track prowls and probes the senses; its lumbering gait dignified yet threatening as sonic flames circle over the smouldering venom you feel brewing within. The track never veers from the object of its steely glaze, twisted vocals adding their evocative narrative to the unmovable intent of sound and intensity. Waves of urgency and muscular intimidation ebb and flow across the track, never diverting it from its focus, the masterful and magnetic repetitious core as infectious as the guitar craft and fiery atmospheres around it.

The closing V opens as its predecessor and with a more voracious and vicious volition emulates its unbridled and unyielding persecution of its recipient. It is only part of the story though as haunting and ingeniously warped twists of the opening vocal harmonies bring a blackened angelic colour to the pestilential glory of the track, whilst there is a general discordance to the tone and heart of the excellent track which draws a rich submission.

Prophetae is not a kind or easy listen but unreservedly rewarding, a full stimulation to thoughts and emotions. There are moments where the album has an arguably unadventurous evolution across tracks which are for the main 10 to 11 minutes long, deviations in sonic and imposing scenery minimal but such the power and potency of the bait it does not become obvious until hindsight kicks in. The album is an absorbing triumph nevertheless and Primal a proposition which deserves proper attention.

Prophetae is available through Q.E.V.Productions/The End Of Time Records now.

http://primalband.bandcamp.com/

8/10

RingMaster 22/04/2014

Copyright RingMaster: MyFreeCopyright

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Patria – Individualism

patria

Our introduction to Brazilian black metallers Patria came with their previous album Nihil Est Monastica; an encounter last year which without crossing into new boundaries with its early nineties driven sound was an exhausting and thrilling release. Now having signed with Indie Recordings, the band unleashes their new violation Individualism. As its predecessor the eleven track feeds and ruins expectations, a similar texture and sound as their previous provocation providing the voice of Patria’s sound but veined and underlined by another increase in exploration of the band’s continuing to grow imagination.

The new release is the fifth album from the quintet of band founders, vocalist Triumphsword and guitarist Mantus, alongside bassist WS Vulkan, guitarist Igniis Inferniis, and drummer Abyssius. The band was formed in 2008 and soon forging a reputation at home with their merger of dark Scandinavian ravages and South American designed metal. Their roots continue to inflame their releases as evidenced by their 2013 album and now its successor, but an evolution of invention and experimentation also spices their endeavours. The result, as mentioned in regard to Individualism, is an incitement which stays within the walls of traditional black metal but colours it with inciting designs and vicious seductions.

Recorded in the last three months of 2013, the album was mastered by Oystein G. Brun of Borknagar and features special guest Fabiano patria coverPenna in the songwriting and arrangement of the closing track of the release and the opening instrumental title track, Individualism making its bow with a brief orchestral call held in a cavernous ambience and clad in portentous intent. Its respectful incitement is soon smothered by the raging torrential blaze of Blood Storm Prophecy where rhythms jab and pummel the ears whilst riffs and sonic enticement rampage and intrigue respectively. The track meanders purposely around the senses in between its corrosive spurts of intensity, vocals a spiteful glaze upon the narrative and imposing breath of the track. Though the song is arguably not openly offering anything truly new it easily slips beneath the skin and psyche, terraforming resistance into a submissive and keen appetite soon fed potently by the third track of the album.

     Uncrowned God of Light, as it predecessor, makes a savage entrance. The guitars sear air and flesh with violent rabidity whilst vocals add their own rich causticity to the suffocating mix. It is a welcomingly imposing assault but one which truly sparks imagination and passions when the band uncages thick addictive grooves and a richly tempting swagger. From its ferocious start the song finds a clever restraint which allows colourful melodies and infectious imagination to permeate and expand the riveting adventure. The track is outstanding and holds onto best album moment, though it is often seriously challenged t by songs like the following Outrage, a masterful track stamping its authority rhythmically and inventively from its opening seconds. Striding beats hits the ears first before a maelstrom of acidic hooks and scarring riffs clad a further destructive twist of drum intrusiveness. The sonic lures sweep around and lash the senses throughout to feed a continuing to increase greed for the album, whilst melody bred hues flame and score thoughts impressively within the blistering blaze.

In many ways the album does not get any better than across this pair of songs but thoughtful invention and dramatic exploits are never far from capturing the imagination to keep the album initially a powerful encounter and ultimately an increasingly persuasive and revealing investigation. The next up Orphan of Emptiness epitomises this, its first suasion enjoyable though breeding a few doubts but becoming a firm favourite with its constant unveiling of new textures and ideation over time. The song again parades its wares and intent with an unmistakable confident revelry, grooves and riffs marching boldly before slipping into a reserved but creative prowl. The initial rapacious attack of the song is soon seizing control again, though its shares and switches throughout with its counterpart to strong success as the persistently shifting landscape of the track becomes very compelling. The bursts of power metal like vocals and thrusts at its latter shows further bravery in song and songwriting but do fail to convince though they cannot defuse the strength of the tempest.

The severe consumption of Far Beyond The Scorn brings an enjoyable if underwhelming ravaging in comparison to previous tracks whilst Catharsis reignites ears with its controlled tsunami of multi-flavoured sonic and emotional vitriol, the song careering with a mouthwatering blend of melodic and raw textures which again never settle primarily into one stance to keep thoughts and senses busy and unrelentingly excited. By this point a breath is needed and the band offer the opportunity with the excellent instrumental Epiphany, a track bringing classical elegance together with sinister drama, the union another potent seed for the imagination. Its dark peace allows a steeling of emotions for the venomous squalls of Your Rotten Heart Dies Now and God’s Entombment, the first of the pair a sonic predator stalking thoughts with serpentine melodies and sonic toxicity, both licking air and senses with merciless mordancy. The guitars provide a poisonous web of menace and emotive severity but equally engage and enthral with an overpowering bait within the rhythmic chaining, an enterprise also explored by God’s Entombment but with a more direct abrasing enveloping.

Closing on the expansive yet intimate climate of Requiem For The Ego, another instrumental which permeates every pore and corner of mind and emotions, Individualism is a magnetic and rewarding violation. It is an encounter which builds in weight, intensity, and sheer quality with every plunge into its blackened depths. There are still parts where you are looking for sparks of originality but those gaps with each release seem to become few and far between as Patria continue to emerge as one of the more potent and gripping extreme metal propositions.

Individualism is available on CD/ Vinyl/Download via Indie Recordings now!

http://www.patriaofficial.com/

8.5/10

RingMaster 21/04/2104

 

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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