Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

www.facebook.com/pages/Acheron/128581467223407

9/10

RingMaster 26/02/2014

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Verdict – The Meaning Of Isolation

VERDICT_Band

A virulent scourge you will want to be ravaged by, especially if your blood boils for thrash metal, The Meaning Of Isolation from German metallers Verdict is an uncompromising slab of riveting extreme destructiveness and mouth-watering savagery. The nine track torrent of aggression and enterprise takes no prisoners and has little time in gentle persuasion, instead it simply and voraciously pillages the senses whilst rewarding with an underbelly of exhaustive yet captivating invention. The release definitely needs time and work to explore but rewards long-term with some addiction sparking technical viciousness and passionate ferociousness.

Verdict began in 1991 with a technical and melodic death metal intent and rage to its sound. Numerous line-up changes followed during subsequent years from which the band’s sound evolved and developed a deeper wealth of thrash hunger to its attack. Debut album Reflections Of Pain of 2002 brought strong attention upon the band and their emerging sound whilst the following full-lengths, Generation : Genocide of 2005 and Assassin: Nation four years later, only empowered their presence which in  turn has led to eager anticipation for the Verdict’s fourth and new album from a great many. Live the band has not left any physical or emotional stone unturned within either as they shared stages over time with the likes of Destruction, Disbelief, Illdisposed, Dew-Scented, Legion Of The Damned, Entombed, Death Angel, Gorefest, Obituary, Nile and many more. Mastered by Dan Swanö, The Meaning of Isolation thrusts the band forward to the frontline of thrash and extreme metal with a masterful display of malevolence and enterprise. The release may be just misses out on threatening best of lists this year, mainly through an arguably too similar a surface storm across many of the tracks and the lack of diversity in the vocals of Daniel “Ratte” Baptista to match the unpredictability and surprise of the music, but nevertheless The Meaning Of Isolation is a thrilling and captivating devastation which leaves the listener exhausted and deeply contented.

Leader Of The Soulless opens up the absorbing punishment with a haunting entrance; a sinister ambience brewing up a VERDICT_Coverswiftly imposing sonic menace which around an inspiring classical stringed melody, intimidates to temper the simultaneously dark seduction. It is not too long though before an artillery of crippling beats from drummer Florian Bauer corrupts the air closely skirted by melodic flames from the guitars of Marius Pack and Dave Hadarik which scorch the air whilst riffs batter its peace with carnivorous urgency. From here the barbarous persuasion is in full flight, the vocals of Baptista as vindictive and merciless as the sinews driving the sounds. It is an intensive start to the album, one unafraid to delve into dark doomier places within its persistent predation.

Manifest Of Hate and Killing Fantasies both keep the malevolence spewing from every antagonistic note and vocal squall, the first charging over the senses with a violent rabidity whilst grooves and sonic invention entwine their venomous craft around the song’s core whilst the second from a delicious dark and brooding introduction with the bass of Dave Helmstetter a pulsating evocative lure, goes on a creative rampage which bleeds intensity and wastes the welcoming senses. It does not match up to the first two tracks overall but still makes a sturdy encounter leading into the similarly impressive if not jaw dropping Layer Of Lies, a track which has a very close related aggressive and melodic cover to its predecessor and needing deeper focus to reveal its individual bait.

Lack Of Insight marks a new upturn in originality and invention within the album, the guitar twisting with bedlamic adventure to cast the first web over the ears before fusing into a resourceful and magnetic weave of intrusive and spellbinding antagonism. The track is certainly no less hellacious than previous songs but unveils a greater exploration and imagination of textures and invention which prevails through the likes of the blistering First To Fight and the creatively pungent Through The Eyes Of A Dead Man, both tracks with grooves and progressive intrigue to light fires within the imagination. The first half of The Meaning Of Isolation is an intense and formidable offering but is definitely exceeded by the second half and it’s more potent daring.

The Meaning Of Isolation returns the senses and dull peace back to its recipient but only after the barbarous Nemesis Of God, the song an exceptional beast which stalks and gnaws the listener from the inside, and its title track which provides another prowling intimidation prone to inventive sonic lashing outs and ruinous brutality, takes their pound of flesh. They complete an excellent album which from an impressive opening stretch emerges as a sadistically pleasing treat. For all thrash fans especially with those holding darker preferences in their hearts, Verdict has given the year an inventive pestilence which leaves no one disappointed or in one piece.

www.verdict.de

www.facebook.com/verdictthrashmetal

8.5/10

RingMaster 12/12/2013

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Screaming Finalities: an interview with Jimmy Lundqvist of Entrails

entrails

From a ‘false start’ in the early nineties Swedish death metallers Entrails was resurrected by founder and guitarist Jimmy Lundqvist fourteen years later and since then has made an impressive mark with its old school seeded sounds and releases such as second album The Tomb Awaits. New album Raging Death builds on the might of its predecessor whilst twisting the existing malevolence into new tortuous and compelling exploits. Seizing on the chance to find out more with Jimmy we asked about the history of Entrails, the album, and moving through early setbacks.

Hi Jimmy and welcome to the site, many thanks for taking time to talk with us.

You have just released your new album Raging Death, how are feelings in the Entrails camp right now and how have initial responses impacted on you?

Hi

We are doing just fine here… It all feels great and we are satisfied with everything so far.

Do you get nervous before releasing an album or is it all excitement?

A little bit of both I would say…

Though this time all excitement was gone a few weeks before the release when there was downloading links everywhere on the internet. That ruined all the fun with the release and every hour and minute we had to use in making this album. I know it’s the modern era now and every band have this problem but it’s a fucking shame that they don’t have any tools to stop this illegal shit.

Before we talk more intently about the album can be look at the history of the band for those new to you. Entrails formed in 1991, what was the spark and inspirations behind the birth of the band?

Well. The boom of the DM bands that came around in the early 90´s and the down tuned guitars and with those riffs and atmospheres… That was Christmas to me… I was completely sold in that style, and there was no doubt in what we were going to play.

This period of the band did not work out and was only around as a working project for around three years, what were the problems which brought the band to a close at that point?

Many things. Crappy recordings, lack of interests, money, contacts, living on the countryside, you name it… Everything was going against Entrails sort of. If we only had managed to make a proper demo I think things would be different… though the dudes in the band back then would have quit anyway as they didn’t have the passion for it as I had. And living so far away from the musicians there was no other options than put it into sleep

Did the frustrations at the time bring lessons and help shape not only the second coming of the band years later but your endeavours between the two periods of Entrails?

Hard to answer as I wasn’t thinking in that direction. But I was more grown up in the second coming and had more focus on the music and a goal to have my demos recorded as they should be.

In that ‘hiatus’ for the band what were you up to musically?

Well… I listened a lot to my influences and tried to follow the music that was made after I quit playing myself. But I didn’t like the new stuff and where the DM was heading so I stopped following that and become more and more stocked to the old stuff. Of course there were new bands coming and they got my support but still the modern shit was not my cup of tea!

2008 saw Entrails resurrected, what was the trigger to this?

Nostalgia and I wanted to record my old music properly. That was the main reasons.

Was it an easy decision to try again or was there some reticence at first about bringing the band back?entrails 2

Not really…It was pretty easy, but I didn’t think of having the band in full scale, only to release the songs as demos or whatever. But when label and organizers wanted us for shows I had to make it complete. And I haven’t regretted a single second about that.

Tell us about the years between steeping back into Entrails and the release of the excellent The Tomb Awaits of 2011, where we first came across you actually.

To make it short; I made those 2 demos in 2009 “Reborn” and “Human Decay” and signed to the label FDA Rekotz winter 2009/2010, then we made the first full length “Tales from the Morgue that spring and we had that one out in the summer 2010, then after that we recruited Adde for the permanent drummer and off we went on a small tour in Germany in November. Then we dealt with labels the whole winter but finally FDA got our signature once again and the work with “Tomb Awaits” could begin.

How have your sound and ideas changed for you since bringing back and reworking tracks for your demo Reborn and the songs seizing the senses on Raging Death?

The sound on the demos was mixed by me…and then I was a complete amateur in doing such so the sound became very thin and didn’t have that punch as I wanted. And after that and when the real albums was going to be made things had to be changed and I contacted Dan Swano at Unisound to do the mixings and from that day he is the guy who does what we want in the sound.

Are there any seeds from your earlier period of songwriting within the new album like previous releases?

Yeah. There are some parts here and there… for an example, ‘Bloodhammer’ is actually the first DM song I made back then. But now it’s a bit longer and have some more stuff added, and also a new title.

As the new album shows you still source your inspiration from the early nineties seeds of Swedish death metal, are you open to other influences though within your creative sparks for songs or intently stay within its influence preferring to expand its particular barriers rather than look into new areas?

Well. Yeah. I have influences from all kinds of stuff… but mostly from the era between 1983-1995. Bands as Helloween, Accept, Iron Maiden, Slayer, Metallica and you name it. The list can be long… it wasn’t´ until 1990 and when I heard DM for the first time I was going on that path

How does the songwriting work within the band now with its stable line-up and creative members?

I make the music into a basic demo and when that´s done the rest add their ideas and changes and from that we rehearse the song into the finish mode. And if lyrics are missing they will be added.

Was the recording of Raging Death approached differently or an experience different to that of Tales From The Morgue and The Tomb Awaits?

Hmm…no… we almost did exactly the same in the recording progress…used a local studio for the drums and then my own studio for the rest and then Dan Swano did the mix/mastering so it was almost the same. Don’t change a winning concept someone told me!

406773_10151479179820238_566315600_nIs there an aspect or moment of Raging Death which gives you particular glow or tingle inside?

Yeah. There are some parts on each song that makes me in a better mood than others but´s only happens in my head. Like perfect changeovers or riffs that really bring your neck swing.

The album feels like it has a stronger snarl and impact in its production than previous releases. Would you agree and if so was it a determined intent or just naturally came about?

That’s cool if you think so… and mostly the album came out naturally so I didn’t have any spectacular or driven goals in it. Many things happens when I sit and record stuff… ideas pops up and I try ‘em out and if they sound good I use it…otherwise I don’t.

I always imagine that when recording songs in the studio ideas are spawned and ignited as a by-product by the process to be logged away for future use. Is this generally the case and if so any gems this time around which might be bred into your next confrontation?

There was more than 10 songs made from the beginning to this third opus but we chose 10 out of them so if we use the rest or if they will be used in another project only future can tell…

This is your first album with Metal Blade Records, has this move given the album and its creation any particular strength or is it really now after release you will find the biggest impact being with the great label?

We worked with the album as we have used to do on the previous ones and Metal Blade didn’t have any specific words in how it should be, only do a great album and do it the Swedish way they said…so I guess the impact will be shown more after the release.

What comes next for Entrails?

In writing at the moment we have done one festival in Germany called Extremefest and after that we will have some vacation and I will sit down and make some new songs and also work with another project along with some friends… yeah it sounds confusing as others would have been on tour promoting their music by now.  But we can’t work in planning tours as the others have so many side projects in the band so we have to await offers and then work from that, but we are having some talks to eventually bring us on a small tour. But´s not confirmed yet.

Again thank you for chatting with us, any last thoughts or words you would like to share?

Well… at: www.facebook.com/entrails666  you can have 100% check on us as it’s there we update and confirm everything. Check it out…

And lastly you were inspired by the likes of Entombed, Dismember, Grave etc. but any bands around now which give you food for thought?

Hmmm…I keep my veins working by listening to the old stuff from 83-95 mostly but if I want to have my veins ice cold I would be listen to technical DM or metalcore or whatever the style is that has no passion and atmosphere to get my veins to work.

Read the review of Raging Death @ http://ringmasterreviewintroduces.wordpress.com/2013/05/14/entrails-raging-death/

Pete RingMaster

The RingMaster Review 08/06/2013

Copyright RingMaster: MyFreeCopyright

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Deserted Fear – My Empire

Easily one of the more impressive debuts to turn up this year, My Empire from German death metalers Deserted Fear easily sets the band up as one to watch closely over the years ahead. Finding their influences and inspiration in the early nineties scene the band amass classic American and Scandinavian death metal into a warring corruption upon the senses. It does not break down boundaries or forge new avenues but as an accomplished and well structured use of existing armories of sound it is impressive and imaginative.

From Eisenberg/Thuringia, the band formed in 2008 and from the release of their first demo two years later, and first live shows, took no time in building a loyal fan base. At the end of last year the band decided to record their debut album and approached Dan Swanö who subsequently mixed and mastered My Empire at Unisound Studio. The band then reached an agreement with FDA Rekotz for the release of the album, an unleashing which should thrust the band into the view of a welcoming worldwide audience. The album certainly deserves full exposure, its thunderous and intense sounds leaving only satisfaction and intrigue for more ahead behind them.

There have been a fury of bands to appear over recent months and years to pull on the past with varying success, those seeding days still inspiring a wealth of new hearts, but what sets Deserted Fear apart is they never tread predictable roads. Yes as mentioned there are not ground breaking but each one of their songs develops an individual character amongst themselves and to their contemporaries, each pulsating with inventive guitar play, keenly crafted and compulsive enterprise, and most of all quite simply impressive ideas and musicianship. Not one song offers a familiarity to another and all captivate with their precise and thoughtful soundscapes.

The album opens with Intro, a minute long premise setting with daunting foreboding ambience and dawning intimidating atmospheres, the first breath of the battle or confrontation ahead. So many bands now use this device to open up their releases that it is rare anything is particularly new or surprising, the same here, but there is something thrilling to that sense of impending danger, though many bands then fail to live up to the promise, not something you can accuse Deserted Fear of.

The Battalion Of Insanities marches, or rather stomps with a stormy mass through the ear, its riling riffs a forceful scurry as the beats of drummer Simon Mengs jab and punch with sharp and unbridled aggression. As the track leaves its caustic brawl over the senses vocalist Manuel Glatter scours the depths of his venom to growl with deep caustic effect. His delivery though is not overpowering and as with everything on the album, it is blended perfectly into the sonic tempest, as are his and Fabian Hildebrandt’s sparking guitar/bass strikes. The touch of Swanö is so evident and shows any aspiring band they can do little wrong by waiting and trying to fund a recording with someone who understands and knows how to expand their music.

The following Pestilential rages like a bush fire, its energy crackling under the thrash driven riffs and tightly wound melodic veins, the riffs drilling their way deeper as the song progresses to bring a total captivation by its final slap around the ear. It is a step on from the impressive start, and the first to fluctuate within many levels, all impressive and heady.

Tracks like the bruising Nocturnal Frags and the barbed Morbid Infection with its corrosive aural scowl, test and tease through their coarse yet magnetic sonic breath whilst the likes of persistently grazing Scene of Crime and the ravenous Field of Death, a track soaked in malevolence and insidious melodic intrusions, take the contagion to its richest potency, the last especially a remarkable and wholly infectious poison to devour greedily.

There is no real weakness on My Empire, the title track and final song Bury Your Dead as formidable and pleasingly imposing as anything else on the release. For all who have a passion for the likes of Immolation, Dismember etc, Deserted Fear will easily excite their ears and more.

http://www.desertedfear.de/

RingMaster 01/10/2012

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Humangled: Odd Ethics

By the third track on Odd Ethics by Italian death metalers Humangled, there was only one direction to go after the completion of this review and that was straight to their back catalogue. The four track EP is the first introduction to The RR of the band but did not take long in ensuring it would not be the last. It is a deeply impressive release offering something different and fresh to a genre admittedly bursting with strong and powerful releases right now, though it is fair to say no one has the distinct smell and taste of Humangled.

From Pisa, the band began way back in the nineties with their first demo Anatomic Butchery appearing in 1996. Though it was well received the band broke up soon after, but in December 2006 vocalist Andrew Goreds and guitarist Luke Scurb joined up once more and Humangled was revived. The following year saw the Refoetalize EP and its unexpected storm of brutal death metal with electronic-industrial rhythms unveiled. The release was well received and after the release of the MCD Edge of Beyond in 2008, the band started work on their debut album Fractal, its acclaimed release coming in 2010 after the band signed with Abyss Records the same year. With guitarist Vhell Miscarriage, bassist Frank Nichols, and drummer Fred Valdaster alongside Goreds and Scurb, Humangled return again on Abyss with another impressive slab of their immense and enterprising metal. Produced and mixed like the album by Dan Swano, Odd Ethics is an imaginative and brutal corruptive pleasure.

Opener Needles Of The Blind takes no time in raging and stomping through the ear with juddering riffs and explosive rhythms, immediately demanding and getting full attention. It is a highly charged mix which ignites all the passions instantly, something not many death metal offerings manage to achieve, usually they have to wear the defences down a little first. With drops and surges in pace and energy, the track is an ever shifting onslaught rife with tumultuous riffs, finely crafted additive grooves, and inspiring imagination. Though it is arguably the most straight death metal track on the release the song is an innovative fury of diverse flavours to fire up the heart. Vocally Goreds conjures a mix of heavy guttural attacks and a caustic blackened delivery for a challenging and compulsive abrasion as direct and pleasing as the music.

The following Skinned, To Feel All opens with a hive of waspish riffs wrapped in a groove which burns on contact, its scorching touch upon the ear acidic and hypnotic. Musically the track is an eccentric blend of doom and sludge metal milked through a death driven rock n roll filter. It is a triumph, an insatiable and incessant grind upon the senses as addictive as any forbidden pleasure can be.

Smells Acrid steps up next to claim its chunk of flesh. As with its predecessor the song opens with a persistent and insistent shower of riffs, all drilled home with a hunger which cannot be appeased. Less rampant but just as forceful and eager as the song it replaced, the track creates a maelstrom of energy and intensity which is the nastiest yet and the most contagious.

The release closes with Deny Your Creed , a song whose initial presence suggests a slower more intense breath at the ear. Intense it certainly is but restraint is never on the cards as it fires a spiral of venomous riffs and spiteful grooves through the eagerly awaiting cavities. Though it shifts from gear to gear throughout, the song with breath stealing energy, bombards with thrash powered riffs and blood boiling sonic ferocity. It is a glorious finish to an exceptional release.

It would be amiss not to spotlight the musicianship within the band especially the skill and sheer brutal might of Valdaster. He is an unbridled beat tempest at times with the control and rhythmic leadership of a master, his skilled frame work and driving energy inspiring the rest of the band to ignite their individual craft.

    Odd Ethics is immense, Humangled even greater, nothing else to say except go check them out.

https://www.facebook.com/Humangled

RingMaster 29/08/2012
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Dew-Scented – Icarus

In the 20-year anniversary of its formation, German thrash metal band Dew-Scented return with a new line-up and their ninth studio album Icarus. One of the established European heavyweights of the genre, the new release shows the band has lost none of its hunger or ability to create thunderous and impressive sounds.  The album does not see the band smashing through walls of originality but still easily and satisfyingly defends their position as one of the most accomplished and influential thrash bands this side of the big pond.

Following on from previous album Invocation of 2010, Dew-Scented continued their renowned work ethic with numerous European tours alongside the likes of Nile, Melechesh, Heaven Shall Burn, As I Lay Dying and Suicide Silence, Bolt Thrower and Rotting Christ, as well as their own headlining shows again all over Europe and appearances at festivals such as Hellfest, Wacken, Neurotic Deathfest, and Brutal Assault to name just a few of many. This period also saw the entire back-catalog of the band reissued as limited-edition Digipaks by Metal Mind Productions leading to further intense focus and intensive work for the band. This proved too much for some members and late 2011 saw a drastic line-up change in the band. Remaining founder vocalist Leif Jensen teamed up once again with guitarist Marvin Vriesde (Severe Torture, Blo.Torch) who had previously stepped in as a replacement live guitarist for tours in 1996, 2002 and 2005, as well as featuring as a guest on the Issue VI album. Vriesde was given the landscape to assume full songwriting duties and assemble the rest of the band which was brought with the addition of drummer Koen Herfst, bassist Joost van der Graaf (ex- Creepmime and Sinister), and after the album was recorded second guitarist Rory Hansen ( ex- Blo.Torch), all three also performing together in I Chaos. This immediate and already established tight understanding is easily apparent on Icarus, the band a thrusting and tumultuous force with a power and control only able to be brought by a unit fully integrated and as one.

From the opening full track Sworn To Obey the album makes blood vessels bulge and the pulse rate fly. It is a thumping mix of raucous vocals, destructive rhythms and riffs which whip the air and ear like leather straps, their effect continual immense slaps on the senses. The song is a persistent and forceful slab of metal with the growls of Jensen filled with vehemence as deep as ever whilst the guitar of Vriesde lights up the senses with some fine acute melodic play within the driving ear rupturing riffs of he and van der Graaf.

From that excellent start the following Thrown To The Lions with its busy grinding riffs and the outstanding Storm Within raise the game even higher. The first of the pair finds grooves and melodic enterprise to explode the already incendiary intensity the track brings whilst the second with its insistent niggle of an opening flexes heavyweight muscles to deliver a stomp of belligerent riffs and punchy rhythms. It too has a groove to lick ones lips at whilst its bruising energy leaves nothing but full satisfaction.

Only halfway in and the album is a winner but following songs like Gleaming Like Silver, the stunning Reawakening with its slowly tenderising assault, and the chugging feast which is A Final Procession let alone arguably the best song on the album The Fall Of Man, only enforce and enhance what went before for the greatest enjoyment.

To be picky at times there is a similarity across some of the songs and ideas but as it is so good anyway it is easily forgivable and not really an issue. Produced by Jörg Uken at Soundlodge Studios (God Dethroned, Suicidal Angels, Sinister) and featuring guest appearances from Dan Swanö (Edge Of Sanity, Bloodbath) on Reawakening and Sacrifice vocalist Rob Urbinati on Gleaming Like Silver, as well as guitarist Dennis Schneider (Retaliation, Final Breath), Icarus is an excellent return which even with the disruption the band went though shows Dew-Scented still head the fore of European thrash with skill and determination.

RingMaster 30/07/2012

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Revel In Flesh: Deathevokation

With heads held high and their intent open and proud, German death metalers Revel in Flesh release their debut album Deathevokation, a collection of aggressive monstrous darkness that sweeps one up with a blackened clutch that deeply satisfies. Formed in 2011 and with a name taken from an Entombed song, the band has only one aim and that is to honour and return to the age of classic old school death metal. Revel In Flesh attacks this with a focus and passion that simply is a feast for the senses and heart. There are some brilliant bands around that have taken the genre into exciting and exhilarating places but when a release like this unleashes a true and honest sound to turn the emotions into jelly there is nothing quite like it or as pleasing.

Deathevokation comes right out of the original tomb of the genre and makes no apologies for it, the album offering nothing jaw droppingly new or adventurous but when the grooves that spine the songs wraps themselves around with eagerness it is irresistible. The album bullies and badgers relentlessly, the red hot grooves leaving scars making it is one of the most agreeable releases in a long time. Yes there is nothing to stretch thoughts or barriers but with sounds this compulsive and as mentioned this straight up honest any other quibble is irrelevant.

Revel in Flesh consists of the duo Haubersson (Guitars, Bass, Vocals) and Maggesson (Drums, Additional Lead Guitars, FX), previous members of bands like Immortal Rites (R.I.P), Dawn Of Dreams and Apophis. Recorded in the late months of 2011 and mixed by Dan Swanö at Unisound Studios (Sweden) in the beginning of this year, Deathevokation offers up ten songs that leave one breathless but grinning from ear to ear.

From the opening assault of Culpa Et Inferna the album rips chunks out of the senses, leaving one with feelings lying numb upon the floor. Rhythms open up wounds with their intensive pummelling to allowing the unrelenting riffs and venom splattering vocals to exploit. With a thrash swing to mesmerise like a slight of hand as the intensity weakens the knees, the song locks on tight. The great thing about the track and whole album is that nothing is done to excess, the guitars show their crafty melodic hand without resorting to indulgence whilst the bass and drums batter and bludgeon to the point of submission but restrain from taking one over the edge of the abyss.

Again trying to be as honest as the album many of the riffs and ideas one has heard in another form before, like the addictive hook within Shadowbreeder but it does not matter in the overall enjoyment and well created wall of addictive sound. Deathevokation will simply rock the blackened skin off any death metal fan and metalers of all guises given the chance.

As always some tracks stand out with an extra something and here the likes of the rampaging aggressively energetic Wings Of Death and the stunning Opus Putrescence lead the way. The first leaves dust in its wake so ferocious and incessant is its might, leaving one gasping and feeling like they just survived an onslaught of thunderous proportions, though barely. The track brings forth groans at its departure making it impossible to move on without a replay of its magnetic manipulating hungry riffs and barracking rhythms first. The latter of the two grabs hold within seconds swinging the senses around as if on an out of control child’s roundabout. There is a distinct folk metal groove prowling beneath the incisive shadowed grind of the guitars that brings a light to the depths the intensity plunges one down in to. It is a glorious cascading shower of sonic abuse and intrusion, and again a song that demands repeat attention right away.

With the likes of the excellent Iron Coffin and Subconcious Error, though all songs can be named, alongside those already highlighted, Deathevokation is a real joy. Yes to repeat the album will not bring you anything new or dare one say overly original but do you want something to leave you provoked yet unsure or something that gives you unquestionably the greatest fun? I know what I prefer and which Revel In Flesh offers.

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RingMaster 21/03/2012

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REVEL IN FLESH – Iron Coffin

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