Dark Century – Murder Motel

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A release which can just as easily raise a wide grin as it can an urge to go violate something, Murder Motel is an exhaustive and exhilarating corruption from a band clad in imposing and compelling devilry. Dark Century comes with a potent buzz behind them and their new album easily reveals why as it ignites ears, imagination, and a greedy appetite for their fusion of death, thrash, grind with a viciously healthy course of hardcore. It is a release which has plenty in it to feed expectations but also comes with a just as rich soak of originality to thrust The Canadian quintet into a spotlight of its own.

Formed in 2001 by guitarist Martin Gendreau, Dark Century has built an impressive reputation and presence over the years around Montreal and beyond. It is a time sign-posted by their excellent and well-received debut album Days of the Mosh as well as a live presence which has seen them alongside the likes of Aborted, Misery Index, Quo Vadis, Rose Funeral, Exhumed, Fleshgod Apocalypse, Goatwhore, Origin, The Faceless, Battlecross, Fuck the Facts and many more as well as light up numerous festivals. With a new line-up Dark Century return with their monstrously towering new incitement, an album which puts the band on a new plateau. Produced by Chris Donaldson (Cryptopsy, Mythosis, Erimha, The Agonist, Derelict, Neuraxis) with Gendreau, Murder Motel is a storming onslaught from start to finish, a ravenous bestial proposition veined by incessantly riveting imagination and unpredictable twists.

     In Our Veins starts things off and is soon careering through the same network of the listener with riffs grazing every surface they can find and rhythms voraciously pummelling the senses. It is a ferocious start which aided by the raw thrust of the vocals and that rhythmic tsunami, only intensifies its assault the further into its destructive arms you sink. Drummer Steve Burns is exceptional from the off but also is the stringed ravishment from Gendreau whilst the slightly varied and excellent caustic tones of vocalist Leather King and the predatory bass incitement of Francis Lafrenière equally steal their share of attention and acclaim.

The fine start hits another gear with the following title track where again a mere breath is taken before a disorientating rhythmic assault and bass grilling consumes the senses. Little time passes neither before a swagger and violent swing to the track wraps its irresistible temptation around a by now rampant appetite, the track lurching over and provoking the emotions with mischievous designs and violent intent. Here as with a few songs there is something familiar to the proposal offered but it only eases the accessibility of the track for the eagerly offered passions. The solo from Erik Fernet-Evans is a plume of intrigue and drama to colour further the potent canvas of the song as it drifts away at its end for Torticolis to seize its portion of attention. Rabid and intensively imposing, the track grips with carnal intent and flesh savaging sounds, its breath toxic and riffery a torrential assault driven harder by the severity of the Burns’ rhythmic spite.

Knees might already be buckling at this point and senses cowering in fear but hunger for more is insatiable and fed healthily by the brief but intensive predation of Ice Breaker and the fearsome rage of new single Kill The Crowd. The latter’s touch is as violent and scarring as anything heard before on the album but is aligned to a masterful persuasion of heavy metal coaxing and hardcore ravaging. Add the irresistible swinish grind twists and vocals plus the teasing cowbell, as well as the horde chants and you have another irrepressible capture of thoughts and emotions, but one exceeded even more by the brilliant Dead Birds. It is one of those addictions impossible to shrug off with the track from its anthemic rhythmic entrance stamping its authority over ears and excitement, crowding and preying on the senses with primal riffs and vocal voracity. It is just one of the structures ready to subjugate the passions, a heavy intensity laden consumption taking its sizeable portion of the adventure under its control just as firmly as the underlying but easily detectable excitable grooves have their appealing say.

   The four second Trio du Bûcheron comes next and there really is little to say about it. Neither working as an intro nor making any impact being so short, it is just there before both Cholestérol and Chloroforme cast their severity over ears. The first is another merciless gorging of the senses with piggish vocals, hellish rhythms, and a sonic weave of skilled enterprise igniting the otherwise pleasing if underwhelming song, in comparison to previous maelstroms. Its successor is similar in its presence, formidable and undeniably impressively crafted but failing to spark the same rapture. Nevertheless both keep band and album in solid control before the closing pair of firstly Mosh Test Dummies and the closing Gore On My Snare ensnare ears to inflame responses all over again. The first of the final two initially stalks and stares venomously at its recipient, its approach reserved but only for a deceptive moment as the song soon uncages its sinews and rigorous ingenuity to smother and savage all before its predatory strides. Its companion is pure blistering barbarity, everything from riffs to rhythms and vocals to creativity a masterclass of bloodlusting malevolence. It is demanding physically and emotionally making a scintillating conclusion to a tremendous provocation.

The album comes with recommendations that fans of bands such as Dying Fetus, Cannibal Corpse, Six Feet Under, Hatebreed, and Annihilator will get a hot flush from Murder Motel, but we suggest anyone with a lust for inventive and revelling extreme metal will find Dark Century a new best friend.

The self–released Murder Motel is available now @ http://darkcentury.bandcamp.com/album/murder-motel

www.DarkCentury.ca

9/10

RingMaster 19/04/2014

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Brewed and Canned – Execute The Innocent

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The press release accompanying Execute The Innocent, the debut album from Austrian death metallers Brewed and Canned, suggests band and release is for fans of Cannibal Corpse and that is in many ways is all you need to know in deciding whether to face the brutality of the album. Except there is plenty more to the thrilling violation to take on board too; certainly the quintet from Vienna which formed in 1998 has a recognisable sound firmly seeded and bred in the older schooled premise of the genre but it comes with a technical rapaciousness and vicious intent that separates Brewed and Canned from the crowd.

Formed by twins Maximilian (drums) and Michael Fingernagel (guitar), whilst aged 15, Brewed And Canned has taken its time to unleash its first toxic full-length upon the world though the time has seen a trio of self-released demos which more than hinted at the impressive senses tainting which marks their debut album. The line-up of vocalist Florian Greiter, bassist Will Wöber, and guitarist Philipp Oppenauer alongside the brothers, uncages a provocation which has no time for trivial persuasions and intensity lacking temptations, the ten tracked onslaught an exhaustive and compelling aggressor but one with the knowledge and skill to damage through precise sonic endeavour as well as primal hostility.

As soon as the barbaric rhythms of Max slam down on the senses to the venomous courting of the guitars and the deliciously demonically BC-ETI-Coverthroated bass, attention is gripped by Multiple Bone Injection soon followed by an eager appetite as the band surge forth with rhythms flailing and riffs tearing the ears. It is an intimidating ravishment completed by the guttural spewing of Greiter, his voice a heavy yet coaxing toxicity grounding the fiery rampage of the track. The opener stirs up the psyche just as thoroughly too, a guitar solo adding citric spice to the virulent poison swamping the air, and though arguably the tempest is not offering anything openly new there is a vein of invention which begs to differ.

The following Behind 8 Doors also takes no time to settle on its intent, riffs and rhythms scarring and beating the senses voraciously from the first second as the vitriolic fury of the song and its narrative builds venom to soak the twist into a slower predatory gait. Complete with a contagion built groove, the song seduces with violence in its mind before switching back and forth into a vindictive cyclone of energy and power. The track leaves a bruised recipient in its wake, one never going to find any respite as the savagery continues with the outstanding Harvest and similarly intensive Perverse Reflections. The first of the two lurches over the senses with a menacing swagger and another irresistible groove which is not too distant a cousin to that of Pantera’s walk. With incendiary guitar scorching and a rhythmic fisting equally stealing the passions, it passes over to its successor and another immediate triumph. A varied vocal delivery sets out the premise which the guitars colour with expressive hues and sonic enterprise whilst bass and drums provide a crippling voracity in yet another prowling encounter. As with all songs, every member impresses singularly and as a united vicious roar, the guitars especially immense and inventive as well as mouthwatering with their intensive designs here.

From the two pinnacles of the album, there is a small dip as Killfuckfeed ferociously tucks with an unrelenting predacious gnawing into the senses. It is a slight drop really and mainly because of the might of the song’s predecessors, but it is fair to say that the protagonist never allows the hunger for the album to drift as neither does the severe Into Slavery, a track which traps and grievously enslaves the ears before spearing them with unpredictable sonic temptation and an undulating but constantly imposing carriage. It is another highlight though the fading out of the song annoys, a short grievance soon forgotten as the brilliant title track instantly has body and imagination involved with its emerging exploratory coaxing. A slow canter accosts whilst a guitar soars with caustic melodic flames through its thick scenery, the almost progressively spawned enterprise bewitching from within the building tension and intensity. Providing a flowing harsh landscape to revel in, the instrumental removes its intrusive charms for the rampaging and equally inflammatory might of Breathing The End to unleash its fierce breath and muscular malevolence. Barely two minutes long, the hellacious maelstrom has passions surging, and though again maybe some will claim there is little that has not been unheard before, it is a captivation of incredible infectious passion and enterprise easily defusing any doubts.

The final pair of songs, Vomiting Liquified Innards and A Violent Malestorm, do not quite match what came before but certainly in the case of the first stretches the invention and boundaries of the album with a masterful sonic web of intrigue through the skill of the guitarists and a rhythmic insistence which is quite breath-taking. Its successor with also a colourful enticement of melodic patterns is a final inhospitable slab of addictive vehemence and uncompromising craft leaving ears ringing, senses hurting, and passions longing for more.

     Execute The Innocent may have been a long time in its gestation but has introduced Brewed And Canned to a wider audience and spotlight with impressive endeavour and merciless voracity. It feels safe to say that we and death metal are heading for massive exploits with the Austrians, though hopefully in more frequent assaults.

Execute The Innocent is available through Blacksmith Records now.

http://www.brewedandcanned.com

https://www.facebook.com/brewedandcanned

8.5/10

RingMaster 13/04/2014

Copyright RingMaster: MyFreeCopyright

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Spiritual Holocaust – Kingdom Of Cadavers

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    Kingdom of Cadavers is one of those releases which takes time to make its fullest persuasion though not from being a slow burner of a tempter but as one which needs extra attention to absorb the most potent elements of its persuasion. The four track EP from Finnish death metallers Spiritual Holocaust once given the opportunity and time to work its sadistic charms though emerges as a strikingly promising and satisfying confrontation. It does not come with the intent to create new boundaries for the genre but sculpts a web of intrigue and raw destructive potency through its death driven slabs of intensity which captivates the imagination and transforms initial appreciation into a more impacting response.

Hailing from Raahe and formed in the latter part of 2010 out of the ashes of death/thrash metal band Point Blank, Spiritual Holocaust soon built a strong local fanbase which was strengthen by the release of demo CD Salute the Death last December. The end of the year also saw the new line-up of band founders vocalist Tomi Vähäkangas, guitarists Janne Satokangas and Jaakko Ulanto, bassist Marko Launen, and newest member Ville Yypäanaho in place and contemplating on their debut EP Kingdom Of Cadavers. Released by Grindhouse Music the new release unleashes a consumption of old school death metal which without being distinctly different to the sound and flavours bred by inspirations such as Morbid Angel, Bloodbath, Grave, and Cannibal Corpse, stands aside of the majority of other genre origin fuelled bands. Add in thoughts of the likes of Bolt Thrower and Suffocation to spice up the mix and you get a good idea of where Spiritual Holocaust come from and are going with their own individual design carving out the narrative.

The EP stirs from within a sampled bloodbath of torment, guitars and bass awakening their venomous intimidation to emerge as a cover_spiritualholocaust_kingdomofcadavers_1000x1000pestilence of sonic toxicity and rhythmic stalking. Once into full malevolent flow Forgotten Horror crowds the ear and forces its venomous temptation upon the senses with accomplished rabidity and intensive might. It is not startling or structurally spellbinding but with a rawness which corrodes with every note and a serpentine breath that is magnetically suffocating, the track makes a compelling introduction; especially when it parades a ridiculously contagious acidic groove, a temptation which niggles and scores the senses until it is a lingering ingrained toxin.

The title track is like an aural plague from its first insidious note, its tsunami of attractive poison and melodically fouled intensity a smothering cloak of dark destruction around a skeleton of rhythmic bone which equally takes no prisoners. Once more irresistible grooves make their plea from within the thick swamp of malicious virulence though it is a greater intensive blanket compared to the first song. A lumbering brutality with a predacious spite to its gait, the track takes the strong opener of the EP up another level and enriches the already spawned open promise of band and sound.

From the apocalyptic landscapes of the previous pair Born of Hatred seems a more personal or certainly is centred on the more personal side of human nature, its sounds as reflectively provocative and internally baleful as the lyrical growling. There is no softening of the destructive essence and hate seeded air of the encounter though, it’s testing and twisted engagement no less a torrential animosity than the other trio of tenebrous tempests as shown by the closing Death is Alive. Gnawing upon and devouring every last gasp of the senses and spark of imagination, the track takes them on a ruinous tirade of sonic and rhythmic annihilation which in turn ignites the same entombed aspects of the listener. With riffs and grooves veining the assault and bass as ever providing the strongest predatory provocateur whilst the vocals in league with the sounds scowl and turn air into a vitriolic Cimmerian expanse, the song brings an equally sepulchral release to an enjoyable close.

As mentioned Kingdom of Cadavers is not grinding out or exploring new ventures but is pure old school death metal which leaves the senses and appetite fully satisfied. Spiritual Holocaust is a band, on the evidence of their first EP, at the beginning of what looks like being an eventful and fulfilling blood drenched journey.

https://www.facebook.com/pages/Spiritual-Holocaust/159862980694493

8/10

RingMaster 08/10/2013

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Kill With Hate – Voices Of Obliteration

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From making an immediately contagious introduction at its start to ending up as one of the most enjoyably violating brutal romps to come along this year to date, Voices Of Obliteration the debut album from Hungarian death metallers Kill With Hate is an album all extreme metal fans should make an acquaintance with. From its mighty start the album is a constant treat with extra fires of quality emerging throughout and though it is questionable as to how much originality the Budapest quintet has forged into their release there is no denying it’s invigorating and thrilling impact.

Formed in December 2007, the band took no time in becoming a potent presence in the metal underground scene of their homeland. Sharing stages with bands such as Onslaught and Moonsorrow, Kill With Hate released their first EP in 2010. Evolution of the Beast was well received from fans and media and helped lead the band into playing with the likes of Job For A Cowboy, As I Lay Dying, and Belphegor. Some line-up changes followed as well as the chance to support The Black Dahlia Murder in 2011, followed by shows with Origin, Psycroptic, Leng Tch’e, and Cannibal Corpse over the next year. 2012 also saw the band record Voices of Obliteration and at the beginning of this, they signed with PRC Music for its CD release.

After the ok intro Revelation (It’s Just Murder), only really notable for its didgeridoo and male cloister union, the album kicks kwh_lowoff its corrosive tempest with Submersion. The track falls upon the ear with riffs and intensive rhythms crowding and abusing their recipients. Taking a brief breath for the grooves and intensity to stake its claim the song explodes again into a tirade of bone snapping drums punches from Bence Turcsák and deliciously insistent riffs and grooved temptation from guitarists Ákos Olt and Márton Hartvig. All the while the bass of Patrik Pornói prowls with predatory malevolence to further intimidate whilst the guttural scowls of Krisztián Gyémánt reap caustic treachery with the lyrical intent to exhaust the emotions further. With a latter flame of sonic melodic teasing which is enjoyable if short on impact, the track is a very satisfying murderous confrontation with destruction on its mind.

The short roll of crisp drum raps aligned to a deep bass groan opens the way for another furnace of violence from The Beast Within. The track is an outstanding carnivorous fury with  death and black metal styled vocals unleashing their dual malice upon a driving energy of riffs and vengeful rhythms. Unrelenting and merciless, the carnage of the torrential hellacious drumming and equally demanding and imposing riffs taking its toll on body and psyche, it simply leaves a wasted carcass grinning from ear to ear in its wake. At this point the album has made a strong persuasion and ignited greedy passions which the following Servant of God, Epistle of Fire, and Pray for War confidently and competently continue. Fair to say the trio of songs do not live up to their predecessors or others to follow but all leave a depth of pleasure and accomplished temptation which for many other releases would be their highlights.

A new heightened barrage of vindictive enterprise breaks free within Doubt to return the experience to the levels forged at the beginning and take them beyond. A ravenous sacking of the ear coursing with the now expected ferocity from the band and their imagination, the song wrongs foot by going against type with a scintillating twist of melodic guitar and similarly gaited bass lines  which offer a rock voice within the cavernous aural vehemence around and above them. It is a surprising and exhilarating thrust of invention within ultimately a tsunami like blitzkrieg. Imprisoned then takes over to offer an individual and equalling marauding storm of invasive spite. Mixing up vocal styles again as well as rippling with sonic intrigue and mastery from the guitars, the riff and rhythm incursion chains and enslaves with blistering efficiency. It is a maelstrom of energy, sounds, and black hearted passion honed into a tumultuous and inescapable nasty pleasure.

Completed by Speeches of the Defendant and a decent cover of Internal, a song of old Hungarian death metal band Extreme Deformity, Voices Of Obliteration is an excellent album from which it is hard to find anything not to hungrily like. Originality is debatably scarce maybe but the great sounds and violently aggressive encounter given, more than makes up for it. With this album, Kill With Hate is poised to find awareness well beyond their home borders one suspects.

http://www.killwithhate.com

http://facebook.com/killwithhateband

8/10

RingMaster 17/04/2013

Copyright RingMaster: MyFreeCopyright

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Six Feet Under: Unborn

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    Approaching Unborn the new and tenth album from Tampa death metallers Six Feet Under there was a mix of expectations after hearing the songs making up the release were written around the same time as those on their more than decent previous album Undead of last year. Would they be tracks which were deemed not good enough or suitable for their previous album or could they stand alone with equal or superior results? It does not take too long to realise they certainly have the strength and quality to match those on the last album though equally they do not leap beyond it in standards or engagement either. It is basically a sister release to Undead, a sideways step or second part depending how you look at it which leaves one more than satisfied but devoid of any fired up passion towards it.

With a new line-up of guitarists Ola Englund and Steve Swanson, bassist Jeff Hughell, drummer Kevin Talley (Dying Fetus, Misery Index, Chimaira), and the distinctive corrosive tones of band founder Chris Barnes (ex-Cannibal Corpse), Six Feet Under return to the scene of ‘the crime’ satisfyingly created with Undead to give arguably a more vicious and visceral musical breath to the again Metal Blade Records released Unborn. The songs making up the album again are borne from when Barnes wrote with a group of guitarists/songwriters in Ben Savage (Whitechapel), Rob Arnold (ex-Chimaira) and Jari Laine (Torture Killer), a union which has brought rich rewards across both albums.

The album makes an initially gentle approach with inviting guitar caresses to open up Neuro Osmosis but is soon opening up itsSix Feet Under - Unborn muscles and intent with dramatic grooves and caging rhythms whilst Barnes exploits every syllable of his delivery with a corruptive and intimidating abrasive primal growl. The song whips and scores the ear with accomplished and inventive sonic intimidation crafted into barbed lures which equally seduce and threaten. It is a pleasing start which captures the imagination ready for the following encounters starting with the prowling Prophecy. The track swaggers with spite and devious intent knowing its weaponry of sinewy riffs and hungry rhythms is a seduction hard to resist. The song does make the keenest persuasion and ticks all the boxes a musical appetite has but its failure to find anything unique to really excite slightly defuses its promising strengths a little.

It is a good start though and leaves one more than happy to delve deeper into the release with an immediate reward from the outstanding Zombie Blood Curse. The track stomps with confidence and magnetic unrelenting purpose, the guitars chugging with a greedy hunger and bass adding extra raptorial malevolence to the rampant endeavour. Mid-way the track slips into a sonic enticement which initially feels wrong but soon leaves an appealing flavour before the song returns to its carnally conceived romp. It is by far the best track on the album and a rival to the greatest moments on the previous album too.

The likes of Decapitate, the carnivorous Fragment with Barnes at his most venomous, and The Sinister Craving with crippling drum skills from Talley carving up the senses, all make their mark though without lighting any rages or fires inside. Despite that the album continues to satisfy and pull the listener into its firm grip squeezing with extra thrills through Alive to Kill You and Psychosis. The first of the two chews and exhausts the senses with a riotous and eager bloodlust honed by the vocals and sharp guitar scything across the ear whilst the second moulds and perverts emotions with fiery sonic teasing and imaginatively destructive guitar confrontation.

Unborn is certainly a strong and pleasing release which alongside the last album sees Six Feet Under finding a much more widely palatable and impressive presence with vital grooves and moments of inciting invention to those not already persuaded by the band. Whether it will convince all that the band is their new passion is unlikely but neither will the album leave any depth of displeasure in its wake.

https://www.facebook.com/sixfeetunder

7/10

RingMaster 19/03/2013

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Skineater: Dermal Harvest

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    Rife with sabre sharp sonics and a carnal malevolence transferred through destructively precise riffing and viciously antagonistic rhythms, Dermal Harvest the debut album from Swedish death metallers Skineater, is an impressive and savage pleasure which leaves pure satisfaction and pleasure in its annihilatory wake. Arguably the album is not venturing into new realms but with its aggressively sculpted malice and charnel house of blood drenched intensity and bone splintering violence it does not need to be to ignite the passions.

Skineater was formed in 2008 by guitarist Håkan Stuvemark (ex – Wombbath, In Thy Dreams, and Vicious) upon leaving as bass player in GrandExit. Moving back to his main instrument he recruited drummer Jeramie Kling, drummer in The Absence, Infernaeon , and Ninety Minute, with the pair recording two songs the following year. It was not until 2011 though that the project found impetus with Stefan Westerberg  (ex- Carnal Forge, In Thy Dreams, World Below, and Steel Attack) taking up the bassist position in the band. Soon after signing with Pulverised Records with whom the album is released, the band expanded further with the addition of guitarist Kari Kainulainen (ex – Mourning Sign and Amaran), vocalist Jörgen Ström (The Mary Major), and replacing Kling, drummer Matte Modin (Raised Fist, ex – Dark Funeral, Defleshed, and Sportlov). Recorded at various locations with mixing and mastering at Studio Underground (Carnal Forge, Steel Attack, Fleshcrawl, Necrodeath) in Sweden, Dermal Harvest is an irresistible result of a group of veteran musicians unleashing a fresh and voracious passion and sound which has maybe been festering within over the years, such its organic and instinctive animosity musically and lyrically.

     He Was Murdered makes the first rapier like incision into the senses though its finesse only follows a bludgeoning entrance from Dermal Harvest Coverriffs and rhythms  with vocals squalls casting acid on the ear like venom filled cluster bombs. With a slight aside in energy for the guitars to seep their own tightly weaved sonic  malevolence, the track forges a violent intrusion with blistering guitar play and crippling drums assaults menacingly accompanied by the delicious malefaction of the bass. It is a snarling brawling encounter which exhausts the energies whilst leaving one simultaneously enthused and ignited by primal intent.

The following Dismantling and Your Life Is Mine continue the ravaging assault on the person mentally and physically, both tracks raw and unrelenting in their abrasive animosity and unforgiving ferociousness. Like the opener they also entwine moments of sheer melodic beauty which are as unpredictable and rewarding as they are unexpected and warmly welcomed as some respite within the towering destruction surrounding them. The guitar play and invention of Stuvemark and Kainulainen is exceptional and their imaginative quieter melodic addresses sit perfectly within the tempests without any seam or drop in fluidity present.

In hindsight though immensely impressive and pleasing in their company, the first trio of songs are mere appetisers which certainly leave the listener enlivened but not as fulfilled as tracks like Made Of Godsick manage to achieve such their triumph. It is at this point that the album fully fires up its heart and furnace to wreak the strongest havoc and pleasure upon the person. The song is a riveting construct of quarrelsome fervour and burning invention which sows the deepest pleasures within. It is a mordant storm musically and in intensity equalled by the excellent and sonically rabid Through The Empire and then exceeded by the sensational Stab. This track strips, grinds, and seduces the senses and emotions throughout, its passage insistent, unrelenting, and sizzling with melodic flames, scorching imagination, and predatory hunger. The best track on the album it sums up the wonderful grotesque that is Skineater perfectly.

The rapacious, and perversely addictive Drifting is another major player of the passions, its greed and hunger musically and violently pure hellacious manna for the heart. Again it shows just how masterful and skilful the band is as individuals but also as a unit and combining the melodic side of the genre to outright volcanic metal fury.

Dermal Harvest is an exceptional release which leaves one smouldering contently under its aggression and quality, and also possibly whimpering. Yes it is not breaking new ground but it is using the essences of the genre in a way not many others can contemplate let alone employ. If the likes of Morbid Angel, Cannibal Corpse, Bloodbath, and Hypocrisy exploit your passions, than Skineater is a band for you.

http://www.skineater.se

www.facebook.com/Skineater666

8/10

RingMaster 21/02/2013

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Nervochaos: To the Death

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    Raw, ravenous, and potently aggressive with a maelstrom of insidious grooves which just tease and coax the passions into their version of an erection, To the Death is an album you just cannot avoid finding strong affection for. The new release from Brazilian metallers Nervochaos is not without flaws or maybe a sense of a lost opportunity but it also leaves one more than satisfied and willing to share precious time with the release on a regular basis.

Formed in 1996, Nervochaos has unleashed their underground acclaimed blend of death and thrash metal consistently through the years and over a series of well received releases. They do not offer the most angry or violent sound around and you will find other more intense and destructive encounters elsewhere for sure but as with this their fifth album, the band has a compelling presence and creativity which ticks enough of the right boxes to be a welcome and pleasing companion. The grooves unleashed within the death metal breath and thrash powered bruises posing as songs are of a devil spawn irresistibility and make the band one you cannot ignore. Released via Cogumelo Records, the new album follows their live album of 2011 and the previous full length release Battalions of Hate of the year before, both Tumba Records released. Gaining a cult status in the underground extreme metal scene the quartet of vocalist /guitarist Guiller, guitarist Quinho, bassist Felipe Freitas, and drummer Eduardo Lane, has equally impressed alongside the likes of Venom, Cannibal Corpse, Agnostic Front, Mayhem, The Exploited, Carcass, Divine Heresy, Ragnarok, and many more, the quartet continually adding to their strong reputation.

The album opens with the high energy Mark of the Beast, a fury of unforgiving rhythms and gnawing riffs shaped around a hungryNervochaos To The Death Cover persistent groove. It does not offer anything new or inventively breath-taking but like a sonic magnet has ears and attention locked into its unfettered energy. Ok it is relatively undemanding but still opens up the album with an accomplished and riveting presence which sets up the rest of the release perfectly.

Sheep Amongst Wolves with its gnarly bass and serpentine sonic flames stands tall next to continue the emerging compelling persuasion of the release. Again there is irresistibility to the flowing craft and intent of the song with another defined groove at mischievous play alongside further inviting melodic fire from the guitars. It does not quite live up to the opener but makes a more than decent bridge to the first of the highlights of the album in Your World’s Trend. This track opens almost identically to how its predecessor ended but soon opens up a variation to the sonic beckoning and pummelling rhythms it unleashes. It is the group vocal shouts alongside the persistently scarring scowls of Guiller which help raise the game further and lies impressively against the excellent erosive grind of the track.

Whilst the following likes of Gospel of Judas, The Exile, and Smoking Mortal Remains ensure one is gripped by a strong need to delve deeper into the album, the release saves its finest moments for a couple of tracks nestled within the trio. The title track opens with the snarling bass opening its deep cavernous throat with tight mesmeric grooves of the guitars soon joining the confrontation. Unrelenting rhythms soon entrap the senses within their merciless tempest whilst now into its stride, the track sets frees a deluge of eager synapse chewing riffs and a sonic whipping which leaves only bliss in its glorious wake. It is two and a half minutes of delicious enterprise and greedy contagion impossible to deny and heartily welcomed. To match the impressive attack of the first the following Hate piles on more infectious riffing and primal chuggery around instinctive rapture sparking twisting grooves.

Arguably the album never reaches the heights of this excellent pair elsewhere but still offers plenty to grab the imagination. To the Death does have a familiar uniformity across a lot of its creativity and sound which holds the release back reaching the depth of acclaim maybe it could have found but is still impressive and enjoyable enough to make the album one easy to recommend. As songs like Mind Under Siege, Destroyer of Worlds, and Warlords Unbound continue to make the encounter a pleasing one this is an album that is easy to continually return to and Nervochaos a band with some of the most agreeable grooves and riffing ability around.

www.facebook.com/NervoChaos.

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Depopulate: Till Man Exists No More

depopulate pic

Rich in primal malevolence and driven by bestial spite, the debut EP from Polish death metallers Depopulate is a towering threat to the senses and an equally rewarding treat for the passions. Till Man Exists No More does not venture to unknown places of originality or intrigue but simply unleashes invigorating violent assaults borne of well-trodden but accomplished violations. It is a crushing release which brings solid satisfaction and inciting maliciousness; whether it is good for the health is debatable but no one truly cares when it sounds as good as this.

Originally formed in 2012 as Eviscerated, the Katowice quintet of vocalist Kostek, guitarists Rumun and Bishop, bassist Skowron, and Jack on drums has become an emerging force within a full and busy Polish underground scene. The release of Till Man Exists No More is a step which with its strength and great sounds should take the band to the fore locally and to good attention further afield. It is a menace with muscles which leave permanent bruises on the psyche and a ravishment that shows no mercy or restraint, what could be better?

After a hellish but unsurprising intro, the album seizes control of the ear and beyond with Deranged I Slice. It is an instant 283767_375063755876283_2104401961_ncorruption of sonic lashing and crippling riffs from the guitars and bass, destructive unrelenting drums, and guttural bile cored vocal scowls which just captivate. It is basically a storm of aggressive spite and energy sapping malice brought with skill and enterprise. As mentioned there is not anything particularly adventurous going on but the song and release ignites something different with its raw and uncluttered presence. It is extreme metal dragged through hell by its strongest assets and Depopulate the accomplished deliverers.

The first track is brief and explosive, a pleasing trait for the whole release as the likes of Pandemic Lust and Wastesoaked next add their infernal corrosions. The first is a sand blast of caustic venom with again the drums of Jack nothing but impressive and the sonic scarring of the guitars a lethal confrontation to devour eagerly. The track gnaws and tears the senses from start to finish with rabid hunger, its inspiring passage a ragged embrace. The second emerges out of the wake of its predecessor and continues the unbridled pummelling. The bass finds an extra menace to its prowling intent whilst the song as a whole just bears flesh ripping rhythmic teeth and sonic viciousness throughout.

The romantic Show Me The Way To Your Heart steps up next… well with a title like that there is an uncertainty as what it will offer but rest assured it is as hateful and deadly as what came before with no sap included. Like all the tracks it is not always an easy listen but completely rewarding. It is a monstrous outrage which demands many returns to its lair, though the release is exactly the same to be fair and both receive their wishes.

Closing with the final sonic humiliation of the senses with the excellent Harvesting Human Flesh, the EP is a mighty release which one can only recommend to all genre fans. It provides all the fruits to satisfy all needs from a death metal release and for an introduction will ensure Depopulate is a name to be noted. Certainly for fans of bands such as Cannibal Corpse, Devourment, Obscenity, and Aborted, Till Man Exists No More is a recommended listen.

https://www.facebook.com/depopulate

RingMaster 12/12/2012

Copyright RingMaster: MyFreeCopyright

 

 

 

Flayed Disciple: Death Hammer

      Flayed Disciple Album cover

    Death Hammer is the debut album from UK extreme metallers Flayed Disciple, a release which might not venture into new pastures with the impressive thrash fuelled death metal it and the band unleash upon the ear, but one which leaves demands and expectations not only fully satisfied but basking in accomplished invigorating splendour.  Released via Grindscene Records, the album is a rabid storm of debilitating rhythms, carnivorous riffs, and devouring intensity which endorses why the band is garnering strong acclaim.

Formed in 209, the Taunton quintet of vocalist Tim Whyte, guitarists Thurston Howe and Jon Whitfield (lead and rhythms respectively), bassist Paul Williams, and drummer Phil Tolfree, has earned great respect through their earlier release the Drawn Viscera EP of 2009 and live performances which have seen them play prestigious festivals such as The Neurotic Deathfest and Bloodstock, as well as numerous shows around the UK alongside bands like Cerebral Bore and Aeon. The tail of last year saw the band sign with Grindscene Records leading to the recording of their first album with producer Chris Fielding this past February.

Stalking the same extreme realms as the likes of Cannibal Corpse, Immolation, Deicide, and Exodus, the five piece rampage with constant brutality and skill from the first note of the album to its very last. Their fusion of thrash and death metal leaves a blissful carcass in its wake, a breathless collection of senses which whilst not treated to majorly new invention is lost to a towering and magnificent tempest of aggression and creative intensity. It is high grade destructive metal, carnal rock n roll which constantly and deeply rewards whilst simultaneously sapping the strength from its recipients.

The album begins its unleashing of spiteful corrosive energies with Bring Down The Hammer, an ear chewing stomp of ravenous riffs, crippling rhythms, and sound bites submerged within the brawling weight of energy. It is an initial confrontation softening the senses for the tsunami of viciousness to come starting with The Westboro Massacre. The song plunders the body with the bone splintering violence of drummer Tolfree lashing out from the midst of the squalling sonic display of the guitars as well as their ravishing riffs. The guttural growls of Whyte are bestial in the extreme but offer clarity to grasp and be impacted by the lyrical strikes as forcibly as the crushing sounds. It is an intensive start which just inspires the need to dive into the heart of the album.

Interceptor and Feast In The Forest Of Impaled Bodies conjure up the blackened sonic devil next, both carrying veins of sadistic brooding malevolence which erodes the senses as the thrash urgency and persistence batters and saps the flesh. They complete their bruising with aggressive layers and unmistakable craft of the band deliberately placed to work on the already sore and merciless wounds caused by the release. It is a masterful display commanding only respect and praise which excels throughout the whole of the album.

    Exodus is another terrific violation drawing only acclaim and just one of the continuous highlights offered, though all fall to the towering might of The Shrine Of Dahmer. The track is a colossus amongst giants and one which is merciless in its destructive intent and venomous breath. Completely infectious without losing its intimidation, the song is a riot of imaginative butchery and compelling invention.

The remaining quartet of songs are all equal to the previous triumphs, Bleaching In The Sun and Torsofucked rasping incursions of nastiness especially the latter of the pair, and the closing Ejaculate While Killing and Pig sheer maliciousness, the first through inspired sonic mastery of the guitars and the last just because it is pure evil in all aspects.

Death Hammer is an excellent album which all metal fans will take to their shadowed bosoms once entering its grievous annihilation. Flayed Disciple maybe have yet to find a unique voice to their unadulterated murderous creativity but the album show it hardly holds them back from being a notable entrant in extreme metal.

http://www.flayeddisciple.com

RingMaster 11/12/2012

Copyright RingMaster: MyFreeCopyright

Altar of Pain: Severe Scourge

Severe Scourge is the latest EP from Portuguese death metalers Altar of Pain, a release which drives its festering consumption with a technical skill to match the destructive passion. It is also another example of the quality of bands and music bursting out from the country, every way you turn there is a not only another band waiting to be announced but one with a craft and invention to step out from the masses. Altar of Pain is no different and though Severe Scourge feels like an above average demo it is a mighty and impressive release which only fuels further promise from the band ahead.

From Madeira, the quartet of Elder Abreu (vocals), Guilherme Abreu (guitar, keyboards), Zé Rodrigues (guitar), and Marcelo Rodrigues (bass guitar, synth-fx), formed in 2010 with the intention of making heavy brutal death metal based music. Inspired by bands like Vader, Death, Morbid Angel, Asphyx, and Cannibal Corpse, the band first drew wider attention with their debut album The Ritual Has Begun of last year. Severe Scourge continues their fine progress with a storm of expansive and imaginative ideas fuelled by a blackened and skilled intent. There is nothing healthy about the sounds of Altar of Pain but nor is there anything dismissible, each song a stirring and concussive enjoyment which is so easy to return to again and again.

The EP is a release with only one real issue to contend with, the drums. They appear and sound as if they are all computerised. Though the band overall just get away with it, there are times it is a niggling itch which diminishes the quality elsewhere. The sound does not really integrate into the organic playing of the band and makes for an irritant which can distract too much at times. The thought though is that if the band find a strong and skilled drummer there will be no stopping them.

Opened by the senses crippling Death By Exsanguination, the release takes no time in igniting the fullest attention. Triumphant Pantera like riffs slash the air whilst a groove dripping in infection, twists around the ear with fangs sunk deep. The song is a breathtaking expulsion of energy, the band unrelenting in their bruising and exciting of the senses. The guitars scythe fiery patterns with their razor sharp play whilst the bass stomps and prowls around with a rabid menace for a combination which is impossible not to fall eagerly before. With the varied guttural growls of Abreu flinging words like plague ridden carcasses on top, it is a storm only pleasure can spawn from.

From the impressive opener Fatal Disease and The Fleshless Goddess offer their own unique corruption as the band explore and unleash further inventive play, the guitars especially in the first scorching the atmosphere with explosive solo work and scarring riffs. The pair keeps things boiling but it is with the latter part of the release where greater highlights lay in wait.

Infected is a corrosive beast which sears the synapses with crushing intensity and acidic guitar enterprise. Arguably less infectious as other songs, its deep rooted groove is merciless in its lure whilst the vocals and energy is a dehabilitating oppression allowing no place to hide.  Again the band shows their songwriting is expansive and unafraid to explore which brings freshness to each and every song.

Top track award goes to Scriptorium, a song which is aural addiction. From an almost lumbering start it explodes into a raging rampage of battering corruptive riffs and incendiary melodic hooks, both leaving whiplash and adoration in their wake. With vehemence oozing from every syllable of the vocals and piercing sonic lashing accompanying the melodic contagion, the track is nothing but immense. Stick a live drummer in there and we are talking probable classic.

With only the earlier mentioned issue to throw at its hide, the Severe Scourge EP is an impressive slab of melodic death metal which genre fans will relish. It is surely only a matter of time before Altar of Pain is given the opportunity to unleash themselves in a full studio with all its armoury, when it happens watch them bring a real explosion to the corruption.

http://altarofpain.bandcamp.com

RingMaster 14/08/2012

Copyright RingMaster: MyFreeCopyright

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