Display of Decay – Outbreak of Infection

BW - promo

From its outstanding cover art to its heaviest predatory note, Outbreak of Infection the new EP from Canadian death metallers Display of Decay, is one richly appetising and satisfying proposition. Unleashing five tracks which crawl and lumber over the senses with tenacious and skilled purpose, the release pushes the Edmonton based quartet another few strides towards the brightest spotlight. Maybe it does not hold any major surprises but without doubt the EP makes for a fresh and rigorously protagonist which is thoroughly compelling.

Formed in 2007, the band took little time in grabbing local attention with their old school bred death metal which, as shown on the new release, is unafraid to add doses of thrash and doom seeded ferociousness to the mix. First EP Blood Borne in 2010 brought the band to an instant attention which their band’s self-titled debut album two years later stretched even further, aided by their live presence which has seen Display of Decay infest western Canada with their sound whilst sharing stages with the likes of The Faceless, Origin, and Beyond Creation amongst many. Self-released as its three predecessors but their first international release, Outbreak of Infection has the potency to take the quartet to greater and wider attention, something hard not to see happening.

Display of Decay has recently expanded to a four piece with the addition of rhythm guitarist Jeremy Puffer, but Outbreak of Infection sees the combined talent and might of guitarist/vocalist Sean Watson, bassist/vocalist Tyler Display of Decay - coverGoudreau, and drummer Avery Desmarais uncage its creative pestilence on the senses. Opening track Born Of Rot immediately imposes itself on ears and imagination, riffs savage in touch and raw in voice. The steady rapacious start is soon striding with a thrash urgency and hunger as the heavy guttural tones of Goudreau growl into action. The song’s irresistible entrance loses none of its potency and voracity as the song expands with sonic tendrils amongst bestial bass lines and thumping rhythms. The band cites the likes of Pantera, Deicide, Vital Remains, Dying Fetus, and Bolt Thrower as influences and as the song tangles intimidating prowls and fury led surges essences of those hints come out in the flavour of the track, and EP overall.

The excellent start is continued by the following Manchurian Candidate, its reserved but open swing of riffs and short grooves infectious bait for ears to greedily latch on to. With a bestial charm, the song stalks the senses whilst flirting with strands of sonic enterprise which may not seduce as forcibly as the unrelenting heavy hunt of riffs and rhythms but certainly sparks a healthy intrigue and enjoyment through the craft and colour of Watson’s guitar. The song flows seamlessly into Praise The Gore, Goudreau and Desmarais setting up an imposing cage of rhythmic enticement to which Watson adds blistering sonic hues. Once again the band is adept at merging a furious charge and reserved gait with a flick of a chord, ensuring that predictability is never allowed to breed. As the last song, it does not quite rival the heights of the first track, but both ignite thoughts and emotions with a resourceful and inventive voracity which raises the pleasure found in the EP to another level.

The title track sears air and ears with a lashing of captivating grooves and a barrage of hostile rhythms all prowled over by Goudreau’s barbarous vocals. There is inescapable virulence to its enticement and energy which enslaves attention and emotions given extra potency by the dark intent and throaty twang of the bass as well as the inventive flames of the guitar. The song is incessant in its imposing presence and magnetic invention, and quite merciless in its hold of the passions.

Outbreak of Infection is brought to a fine close by a cover of the Kiss track Black Diamond, the song given a blackened make-over with death metal predation. It is a captivating version providing a pleasing finale to an excellent encounter. Display of Decay may have been Canadian metal’s pride and joy before but with the release of Outbreak of Infection maybe the rest of the world will now be making claims to the band’ time and attention.

The Outbreak of Infection EP is available now @ http://displayofdecay.bandcamp.com/

http://www.displayofdecay.net/

8.5/10

RingMaster 27/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Various Artists – Operation: Underground

ImageProxy.mvc

There are nowhere enough compilations albums around these days especially when it comes to unleashing and promoting the potency of the underground scene. The seventies and eighties saw a plethora of important collections bringing impressive introductions to hordes of bands and often making a springboard for those propositions to find healthier and stronger horizons. Today it seems almost a rare treat to be presented with such an encounter, though amongst those which have emerged there have been many impressing releases. Adding to that list of triumphs and setting a template and example for others to follow is Operation: Underground, the new release out of New England independent label Bluntface Records. Consisting of 27 of the most potent attention grabbing extreme metal bands from the world’s underground, it is an outstanding slab of creative hostility and malicious introductions. The fact that it is released as a free download only adds to the might and weight of the uncompromising incitement.

Created and sculpted by label owner Otto Kinzel, himself renowned for his solo work and with his band Chemical Distance, Operation: Underground it is fair to say has no real fillers in its body, something else few releases of this size can claim. It comes with a showcase of quality and talent which demands close attention, exploring everything from black and death metal to grindcore and other varied extreme provocations. The album quite simply goes for the jugular from its opening moment and is unrelenting until the last pleasing violation of its final track.

Operation: Underground gets off to a voraciously impressive start through its opening pair of bands. Hailing from New York, brutal death metallers Abdicate make the first blunt incision with their track Burning Ascendance. Taken from the album Fragmented Atrocities, it is a furious decaying of the senses with grind seeded carnality. Clad with inescapable malice driven by gutturally spewed vocals which themselves are aligned to rampant riffs and a violently rhythmic tenacity, the song instantly chains and enslaves ears and thoughts with its hellacious intensity and scintillating causticity. Perfectly raw and loaded with exciting potential, it is an immense start soon left in the wake of the following Human Decimator. Uncaged by Massachusetts five piece Carnivora, the track from an opening sample lure wraps ears in a venomously addictive groove and angrily cantankerous rhythms. It is a staggering start swiftly pushed on by the outstanding vocals and magnetic signs of guitar and predatory bass baiting. Subsequently entwining groove and thrash in a unique explosion of flavoursome toxic metal, song and band instantly take a swing at top track honours and to be honest never relinquish their hold despite numerous challenges. From the Danvers hailing band’s excellent Eternal album, the song with its predecessor sets a high marker for the album which to be fair it never really strays too far from.

Ireland’s Legion of Wolves comes next with their death metal spawned track Kings Of Tyranny. Taken from recent release Legio Luporum XIV, the song prowls ears and imagination with a black hearted demeanour and similarly coloured sounds. There is a pestilential air and intimidation to every riff and swing of sticks as well as with increasing malice the gruff vocal squalls, but also an emerging melodic craft which transfixes as it tempers the enmity of the track. From the Irish success both US band Goreality with the rapier like corrosiveness of Skin On, Skin Off and Florida’s Echaton keep imagination and satisfaction high, if not quite matching the early songs. The first of the two creates an incessant thrash fuelled death metal rapacity which is as easy crawling over the senses as it is discharging an adrenaline lit trespass whilst its successor with Behold The Nexus offers a more technical premise compared to its barbarous predecessor. Do not expect to have things easy though as the song roars and scythes with jaundiced respect and impressive individual prowess over the senses and into the passions.

Markradonn come next with a track from Final Dying Breath EP called Internal Hate Unbounded. One of metals most individually sounding propositions, the Florida band create an experimental tapestry of death and black metal filtered through a progressive and symphonic rapacity, resulting as the song shows in a startling imagination fuelling encounter. Its ferociously compelling presence is left a little pale though by the caustic sonic irritancy of The Seventh Trumpet Sounds from Arkansas duo Critical Dismemberment. The song is an abrasing and unpolished smog of bad blooded death metal soaked in inventive rancor and appealing potential proving ears with healthy pleasure.

Maine’s Sacrichrist suffer from an unflattering production to their song No Savior to really impress though it does not fully smother a promise which suggests more than it delivers. Nevertheless the track grows in strength and persuasion over time to make the band one to keep an eye on alongside extreme heavy metal quintet Wrathsputin. The Massachusetts band unleash a gripping fury of sonic nastiness and rhythmic bullying in their song A.N.U.S. (A Nation Under Satan), to create another riveting moment in the album, especially with the potent enticement of contagious grooves and melodic spillages which litter the excellent song.

     Green Army from Bangladesh is another to have a diminished success thanks to the poorer recording quality of their song Reborn of the Blackened Phenomenon, though again to be fair it does not stop the accomplished and adventurous skills of the band shining through before The Slip from the excellent Garbage Can takes over. A two-piece from Ottawa, the Canadian band creates an irresistible savagery of slam grind which manages to seduce and scythe through the senses with equal attraction. The song is another setting the loftiest pinnacles on the album definitely not matched for personal tastes by Malcontent Manifestation from Inverticrux. Actually from its first gothic clad doom brewed musical seconds the track flirts with the imagination to reasonably strong success but vocally the New Hampshire band leaves emotions cold and unconvinced, that aspect a maelstrom of textures and styles which will either click for you or not.

Another Irish band in the tasty shape and sound of Syphor step up next, their track For What Remains, from the album of the same name, a predatory blend of thrash and death metal courting many other textures and spices in an 10625117_10202114872106082_8340698001833330811_ninfectiously gripping web of riffs and grooves hosted by great serpentine vocals. The Dublin band easily set themselves as another to explore further as does the ear grabbing Solium Fatalis who follow them. Dead Sands Of Time is a beast of a track, its tone bestial and weight trapping whilst its strenuous grooving and rhythmic animosity spins an inescapable web for thoughts to bask within. Maybe their sound is not rife with originality but certainly the band leaves a hunger for more as insistent as the imposing sounds which breeds it.

Infested Prophecy also fails to a light fire in ears and imagination with Abandon Departure, though there is plenty musically to spark a watch of the Massachusetts band once their blackened malevolence is given a willing production to aid the trio’s musical talent and adventure. Certainly as all the bands they are not lightweight in their offering to the album, the same easily said of both Canada’s Accursed Spawn and Florida’s Prophecy Z14. The first of the pair sear ears with a sonic and rhythmic violence through their song Burned Into Sterility which is as warped and psychotic as it is ridiculously captivating. If wanting some new Cryptopsy or Dying Fetus like sounds then turning to the Ottawa five would be a rewarding move whilst the following protagonists roam and hunt down the senses with a weave of technically driven death metal annihilation to matching success. With a swing and swagger to every element of its tempestuous onslaught, Torn from the Flies is a thought provoking proposal, not as dramatic in its capture as maybe it should be but providing a wholesome and mercilessly ravaging exploit all the same.

New Yorkers Gutted Alive lifts the lid off another stretch of commanding and impressive offerings with their track Force Fed Acid. Arguably the most brutal track on the album it is an addiction fuelled tempest of cruel rhythms punctuating sonic and vocal spite complete with a delicious nagging slingshot of grooves and flesh stripping riffery. The song is a masterful temptation to embrace and fear simultaneously which is matched stride by violent stride by Infection of the Masses from New York sextet Assault on the Living. It also niggles its way in to the psyche, repetitive textures and grooves only adding to the virulent bait and lure of the expansively flavoured sound. One of many bands you immediately feel will not be a secret for much longer they are swiftly emulated in might and quality by My Missing Half. Another foursome from Massachusetts, the Bostonians forge an enthralling canvas of melodic death metal in Empty Dreams which is as enticing with its sonic and melodic colour as it is through its rigorous design of sinew built antagonism. With essences of The Black Dahlia Murder and Between the Buried and Me bringing hues to an otherwise fresh sound and presence, the band add another name to the busy check out list inspired by the album.

Italy’s Symbolyc provide their very palatable style of extreme incitement next, blastbeats and grooves as binding as the alluring vocal predation and melodic veining the stormy heart of 300 Demons. Their fury is as potently enticing as that of German metallers Spreading Miasm and their sonic pestilence The Harvest, a track which is unfussy aural toxicity with every enjoyable twist and violation wished for in an accomplished slab of extreme metal. It also finds an unpredictable invention which lifts a strong song into a great encounter, something not quite discovered by Texans Core of Desolation in their track The Return of Death’s Glorius Design, though it also is not blessed by the most understanding of productions which smothers the chance of greater success as certainly hinted at within the still enjoyable offering.

Operation: Underground begins its closing run with symphonic black metallers Aberration Nexus, the solo project of Chris Meyer from Victoria in Australia. The erosive and immersive embrace of The Solvent That Cleanses The Earth immediately smothers the senses in a melodic expression filtered through a thick atmosphere and sonic rabidity. It is an absorbing if uncomfortable experience pointing to a potential which will flourish ahead with the right touch and scenery for Meyer to grow within. Its strongly satisfying presence makes way for the Egyptian influenced death metal of Romanians Horus, their sound a warm melodic wash over a hostile frame, governed by deep throated vocals. Their track Revelation is an imaginative entwining of symphonic seducing and menacing landscapes which again lays seeds to a keen appetite to learn more before it in turn is followed by the similarly imagination capturing Suffer The Winter from Ohio metallers Vengeance Within. Without courting open originality, song and band cast a shadowed and intrigue rich terrain of potent melodies and jaundiced intensity which casts a widely flavoured and lingering presence to entice more investigation.

The album is closed by Terminality from Californians Dark Measure, yet another band on the release unafraid to explore a merger of styles and ideation to create a fiery and richly appetising conclusion to a tremendous doorway into some of the best emerging bands in extreme metal. Operation: Underground is a thrilling project from a label which lives the independent scene and really does support the cause.

Operation: Underground is available from Tuesday August 26th for free download @ www.bluntfacerecords.com

9.5/10

RingMaster 25/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Cathartic violations: An interview with Throat of Lesch-Nyhan

lesch nyhan4

Formed in 1989, the journey of Philadelphia metallers Lesch-Nyhan has been one of two halves, their first coming rich with potent horizons ahead but derailed before their realisation could be smelt. The return of the band in 2012 though looks like being a different matter. Returning with all the potential and inspiring qualities of before but honed into an even more rewardingly imposing and thrillingly incessant beast of an encounter, as evidenced by their new album Lesch-Nyhan Syndrome, the quartet has emerged again as the ravenous and inventively savage proposition their fans always declared them to be. The new album is a wake up swipe to extreme metal so we called on the time and kindness of band founder and vocalist Gary ‘Throat’ Hadden to take us into the heart and creativity of Lesch-Nyhan. We get the frontman to talk about the two different periods of the band, reasons for its break up and resurrection, the band’s take on the current metal scene and plenty more…

Hi Throat and many thanks for sharing time to talk with us.

Before we talk about the new album Lesch-Nyhan Syndrome, can we look at the beginnings of the band back in 1989? What was the spark to its birth and intent to its heart?

In 1989 it was a time in metal where Thrash ruled, and Death Metal and Grindcore were not heard of that much… I was asked by Mark and Anthony Delacandro if I’d like to form a band, Hell Yeah, I said. We then asked Greg Oreski RIP to join the band and it was rounded out by adding Mike Carr; we started to form and create the sound of Lesch nyhan… The intent was to have fun, we never expected what was about to happen…. It was a great time…

lesch nyhan2It is fair to say that the band was moving and brewing up a strong and potentially potent future with its unique sound and presence, but some of its members were not ready or were unprepared for that step? What was the core reason for that do you feel and the halt to the band’s progress?

Yes there could have been a chance Lesch nyhan would have had an opportunity to get signed and be a part of the start of what was still a growing scene, changing a lot, but still growing. The demise of the band; first off we had a lot of attention from Peaceville Records, with that came parents who disagreed with their sons’ decision to continue to play in the band due to its possible signing. As I mentioned previously, Thrash Metal was popular and the musicians were far and few between… I did find several musicians one being Dan Kamp who moved onto Incantation. The other members in the band just couldn’t create what we previously were and it was not working out… So that was it…

Was this a slow turn or a swift punch into the heart of the band as members realised the possible future of Lesch-Nyhan?

It was quick; we were active playing with today’s Legendary Bands in Suffocation, and Incantation, amongst others… So with all that was going on it seemed clear we had a chance to make a name for ourselves.

I know the band went through a few members at this point, what was the final straw which brought the band to an end back then?

Overall lack of interest…. or skill to play our form of music…again Death Metal or Extreme Metal was really at its birth so it was hard to find the right people to carry on… I also got involved in drugs that messed me up for a few years… Hope that answers that….

It was not until 2012 that the beast rose again, what did the interim years hold for you musically etc.

Envy… My best friend Kevin McLintock played in Mortal Decay and also had and still has his band Polterchrist, so during the last 22 years I’ve been a huge fan of Death and Black Metal, it has kept the spirit in me and the desire to once again create something unique, even though so much has been done and tried. I went to a lot of shows and remained a big fan of music.

Was there a trigger to the band’s return in 2012 or was it something brewing in thoughts and emotions for a while? Lesch Nyhan

It happened real sudden, I was approached by a former member in Rob Vandeerveer to see if I’d be interested it trying to get back to making music. I asked around, Chris Miller previously of Crucifier and Afterbirth joined forces and brought in his friend and drummer Mark Vizza; Jimmy Dabatista was also in the reformed band at first. So now Chris and I have parted ways with all those guys. Jack Carmichael formerly of Afterbirth was long time friends with Chris so he joined and we found Mark Stanthorpe Jr to round out this line up…Which is finally solid and steadily progressing.

How did you approach things this time around, musically and just in the process of being a band?

Very seriously, we know we aren’t a group of young guys; we are doing what we know to do to spread out our music. We are grateful to be where we are today, being ready to record our first full length CD. The music is written by the band, I write the lyrics. One important thing with the band is Chris and Jack were fans of Lesch nyhan back in 89/92 so that helps keep the vibes alive.

Did it feel any different as Lesch-Nyhan rose again other than what maturity and experience brings?

Yes, we are proud of what we are doing and have done so far… It’s an awesome feeling to see some old heads that used to come to our shows back in the day and for some new young and old people to find interest in our music is a great feeling.

How different was the death metal scene when the band reformed to when it left it, and did that have any impact on your thoughts in regard to sound, songwriting, and just returning?

No, actually the guys in the band don’t even listen to today’s Death Metal, so they write what they feel. Myself I write about a lot of things from hating life, gore, some political stuff and anti-religious stuff. We don’t care what people think, we’re not trying to impress anyone, and we are doing what we feel and what we want. So trends and popularity isn’t important, being honest to ourselves is more important… Nothing fake here.

You have just released new album Lesch-Nyhan Syndrome. Has its emergence in some ways been unfinished business or more a new chapter looking ahead only?

I think it’s a look ahead; we do have Bathed in Phlegm on the CD that was previously written in 1991, other than that all new material…

How has your sound changed between the new release and Indistinguished Remains of 1991 in your ears and thoughts?

In 1991 we were young; I used a harmonizer on my vocals back then and used it live as well. Over the years I’ve been upset with the decision to use that effect, to us at the time it seemed inventive and different. So in today’s music it is raw, it was recorded that way ‘because we play it live that way. This to me is a dream come true, and don’t think we all don’t put in time, we practice a lot and enjoy creating music. The basic elements of the old music are still alive today… Done with more talent and intent of making unique music, not typical run of the mill…Lesch nyhan

Has your inspirations for songs and the raw passion and craft which breaths in your music and songs still the same which lit up your early compositions or has that also changed and found new seeds over the years?

For me the passion runs deep, I feel my vocals are one of a kind and try to make it that way; creativity is vital to all of us. We keep it in the same vein as early days but much more advanced in writing and song composition…I think…

frontcoverHow did you approach the recording of Lesch-Nyhan Syndrome, was there a certain intent with its creation or did it find a more organic evolution once expanding and recording the tracks?

We knew going in what we wanted and were looking for…. we’re not a polished band, we’re a live band, we practice a lot and I think are pretty tight so recording this CD was easy. It actually took us 12 hrs, my vocals 2.5 hrs…We all hammered it out quick and were quite pleased with the results.

Are you someone who likes to have songs predominantly finished one recording starts or likes to give them that freedom to evolve and surprise you in the recording process?

Yes I rehearse a lot, I put together the songs vocally during practice; if you’re familiar with Lesch nyhan there’s a lot of vocal changes and it takes time to work them into the songs, although a lot of Lesch nyhan Syndrome just came out as a surprise… Not all some though…

How does the songwriting primarily emerge in the band?

Chris Miller, Jack Carmichael, Mark Iii as he’s known, write all the music…I basically just listen for it to move me, if it doesn’t than it won’t work …. They have become a machine. I practice mostly at Chris’ with him and Jack with the drums through the Pa, that gives us time to practice often and for me to do my thing… The song writing is going great.

How have responses to the release met with your hopes before its unleashing?

It’s gone well, the intent was to get the music heard; we really didn’t have expectations except enjoy having completed this after all these years. We definitely have sparked a flame here and I hope the next recording takes us to the next level, and see where things go.

What is next for Lesch-Nyhan, in regard to playing live, new songs, and direction?lesch nyhan3

Live shows is what I live for, in August we are making our way up north to Rhode Island and playing in Pray for Death Fest 2; our next local show is in September at Harpers pub. New music is coming along nicely, we are recording ten tracks at the end of this month, and the direction we are going is our own making music we enjoy and expressing ourselves as we please.

Again many thanks for sparing time for us here. Would you like to leave a final thought or word?

Sure, I have to say thanks to all the people who have checked out our music, came out to our shows; thanks to all the promoters who continue to provide us with good shows…in the Spring of 2015 we are headed to Wisconsin to play apart the Spring Bash, then follow up with a road trip where we will be playing Midwest states and north east. I hope to see some of you out there. If you do coke out always feel free to come up say and say hello… Finally I like to say thanks to you for doing a review of Lesch nyhan Syndrome…. and following it up with this thanks. To anyone who may want to check out our bands page it’s LeschNyhanMetal on Facebook, on YouTube type in Lesch nyhan band, and Google Lesch nyhan band…. Thanks Throat

Read the review for Lesch-Nyhan Syndrome @ http://ringmasterreviewintroduces.wordpress.com/2014/07/16/lesch-nyhan-lesch-nyhan-syndrome/

Pete RingMaster

The Ringmaster Review 06/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

 

 

 

Norilsk – Japetus

Japetus EP - photo band

Listening to Japetus, the debut EP from Canadian metallers Norilsk, you feel the band may have missed their calling, for if anyone could make stark desolate wastelands and inhospitable landscapes a potent tourist attraction then this band could. It is exactly what they do on their introduction to the metal world, make stark doom drenched soundscapes some of the most alluring proposals heard this year. Forging a sound bred from intensive sludge and post metal, the band creates bait and presence which seduces as it savages to leave the listener grinning insanely as its predatory instincts sonically disembowel the senses. There have been a wealth of impressive first assaults from bands this year but Japetus stands head and shoulders above most with ease.

Gatineau, QC hailing Norilsk is the creation of Nicolas Miquelon (Damnus, The Great Russian Empire, ex-Kintra) and Nick Richer (Damnus, Doll, Outrage AD). Taking their name from Siberia’s most northern city, the pair’s sound has been infused with inspirations from the likes of Thergothon, Saturnus, and early My Dying Bride, spices bringing a further doom laden death metal quality to their invention. It is not a sound which is exactly revealing new pastures and adventures for the genres it employs yet it has a startling, riveting breath and voice which puts the band apart from the rest and into a fresh and compelling corner of its own. Ahead of their first album, the Japetus EP sets down an immense and enthralling, not forgetting exhilarating, base and teaser for upcoming horizons, whilst inspiring a hunger racked with greed.

The title track sets things off and instantly has ears and attention awake with its nagging riffs and acidic sonic wash which scythes gently but forcibly across the senses. Within seconds you feel there is a relentlessness to the song even in its Japetus EP - artworkrelatively reserved stance at this point. Soon the guitar and bass predation of Miquelon is discovering a pungent snarl to which the beats of Richer add their intimidating punch. A Killing Joke like groove adds to the appealing lure before the guttural slowly crawling vocals of Miquelon prey on imagination and emotions. It is an irresistible enticing which erupts with intense crescendos before slipping back into its determined slow gait, riffs and grooves insatiably beckoning the passions. At over eight minutes by mid-way you wonder of the track will out stay its welcome but with inventive twists and that pure hypnotic pull of its repetitive ingenuity, there is never a chance, especially with the toxic melodic side step which permeates body and soul towards its conclusion.

It is a staggering opening which is soon surpassed by Potsdam Glo. The track is a swiftly established different kind of a beast, its slow predacious entwining of ears and synapses carrying a gentler though no less menacing gait and texture. The bass is pure demonic flirtation, its lure a throaty velvet to which the vocals of Miquelon offer a cleaner delivery than on its predecessor. Thoughts of Anathema and Isis make their hints but also earlier spices like Bauhaus and The Cure in just as many hinting ways. As it floats imposingly across the senses there is a meditative effect which embraces tenaciously though that lingering coaxing is subsequently buffeted by the increasingly volatile and threatening swipes of Richer. The songs climax is an immersion back into its melodically enthused seducing, a warm and invasive beauty swallowing ears and imagination.

Japetus is an extraordinary proposition, as mentioned not ground-breaking in sound but striking unique in presence and imagination. The CD version of the EP also offers a cover of the Voivod track Negatron, Norilsk twisting and transforming it into their own distinct version with insidiously dark throated vocals, ravenous intent, and an atmospheric malevolence which engulfs the senses. It is an outstanding track which makes the CD the more essential choice though no one will be left disappointed by the two-track download.

With that full-length imminent, Norilsk has made the most powerful and exciting entrance of any one this year. Japetus is aural brilliance ensuring that anticipation has nostrils flaring for the album.

The self-released Japetus EP is available now digitally and on CD @ http://norilskdoom.bandcamp.com

https://www.facebook.com/NorilskDoom

10/10

RingMaster 31/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Vexilla Regis Prodeunt Inferi – Self Titled

VRPICoverArt

Having missed like many their self-titled album when it was released in 2012, it is with thanks to Memento Mori for resurrecting the potent and thrilling offering from Vexilla Regis Prodeunt Inferi (V.R.P.I.) once again for us all to devour. The album is a pestilential treat of satanic death metal with a melodic veining and raw surface which simply fires up the imagination. The band has been called Mexico’s best kept secret but with this second outing for their album you suspect their unwilling privacy will be no more.

Consisting of members of Necroccultus, Sargatanas, Ominous Crucifix, Supplicium, and Leper Messiah in its line-up, the 2009 formed V.R.P.I. has forged an intensive and impressive reputation in their homeland’s extreme metal depths moving further afield. Their debut album has been the main cause of that, its ravenous spreading of the band’s contagiously vindictive sound insatiable and sure to incite a wider hungry spotlight this time around.

The album comes in nine chapters starting with the sinister Serpents Council. From its opening desperate and haunting air the track swiftly expels a controlled rabidity of riffs and rhythms bound in a sonic web of intrigue and enterprise. It is a caustic proposition especially with the raw throaty vocal squall of Rubens Nergal, but it spears that with a virulently enticing swinging groove which attaches to the stride of the song and the intimidating guitar designs forged by Ignis Deo, Edgar Ramirez, and Jesus Inukai. It is a short and potent provocation to get album and thoughts prepared for the creative torment ahead, which soon descends on the senses through Ceremony Of The Impure. The antagonistic rhythms of drummer Daniel Sanchez instantly cast an intimidating frame coloured further by the heavy lilted tones of bass from Angs Balandran. It is an intensive barracking but one tempered by the rich evocative hues of melody clad guitar and vocal chant in the background. The track does not ignite thoughts and passions as strikingly as expected and hinted at by the previous track but still has them simmering contentedly with a keen appetite.

That hunger is soon fed a tasty voracity through Towards Battlefields, its predatory breath and stalking gait flavoured with a compelling bass sound amidst another acidic weave of riffs and sonic confrontation equipped with turbulent enterprise and a rigorously captivating groove. The track is a formidable and threatening slab of addictive hostility, death metal at its feverishly creative and intensive best matched by the very brief Ravenous Apocalyptic Raids. The track is a swift scourge of malevolence and destructive enterprise which impressively leads straight into the just as nasty and riveting Purification By The Sword. A rancorous fury of crippling rhythms and scarring riffs blaze across the senses immediately, the latter’s alignment with a scorching sonic whining irresistible. The track proceeds to lurch and twist with bestial predation and intensive urgency before settling into a more controlled but no less insistent stalking with abrasing vocals and melodic toxicity nestling menacingly over the continuing rhythmic provocation. The best track on the album it is a monstrous infesting of ears and passions, alone a reason to take V.R.P.I. eagerly to your vulnerable breast.

Its might is matched by the rising from dark depths of Leviathans Coronation. Like an awakening subterranean beast, the track flexes its rabid muscles into a destructive air as bass and drums build a tumultuous cage of lethal rhythmic violence. Its sinews continue to ripple as riffs surge purposefully alongside a sonically fuelled melodic emprise which begins to paint the track’s demonic canvas. The track continues to test and challenge, frequently shifting its gears in gait and violating ears in dark intrigue and enthralling sound. It is a real brute of a song but one wrapped in an ingenious beauty and invention which is death metal as organic as it is singularly inventive.

Both Nine Kingdoms and Hunting And Sacrifice keep the grip of the album tight even if certainly the first of the two with its varying degrees of persuasion slips in stature to those before it. With a driving nagging groove and rhythmic unpredictability the track still leaves satisfaction high before its successor unleashes its hellacious and malignant fury upon the senses. Strange to say for a track intent on corruption and viciously imposing enmity there is an elegance to the song which seduces as its tears thoughts and emotions to their bare bones. It is an impossibly magnetic onslaught which makes way for the savage Necropolis Rising, a track unleashing all its lures and spite upon the ears in again absorbing and emotionally jaundiced manner. The further into its maelstrom it goes the more infectious and addictive it becomes, preying on the passions with skilled enterprise from each of the Irapuato sextet and a combined imagination.

The album is completed by tracks from the first demo of V.R.P.I.; the raw trio of Serpents Council, Ceremony Of The Impure, and Towards Battlefields more than decent inclusions which show the seeds from which the excellence of the album has emerged. For death metal in its best creative throes of adventure, ingenuity, and sheer malevolence, Vexilla Regis Prodeunt Inferi, band and album, is a no brainer recommendation, especially if the likes of Morbid Angel, Deicide, and Vital Remains appeal.

Vexilla Regis Prodeunt Inferi is available via Memento Mori now @ http://memento-mori.es/

https://www.facebook.com/VRPI666

9/10

RingMaster 01/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Near Death Condition – Evolving Towards Extinction

NDC

Sure to give extreme metal a big nudge to their existence and intimidating quality, Swiss death metallers Near Death Condition have unleashed their third full-length Evolving Towards Extinction, a towering and brutal assault on the senses. Thrusting eleven tracks of uncompromising and ravenous ferocity through the ears, the release also holds a rich vein of inventive imagination beneath the tsunami of vicious endeavour and intent. At times it is understated or needs extra attention to really explore, but it constantly makes each track an individual incitement of increasing rewards, all combining for an impressive stature to the album. It has to be said that the release does not consistently light a rigorous blaze in personal passions or excite as intensely in places as others, but there is no denying that attention and appetite are thrillingly fed.

Hailing from Valais, Near Death Condition emerged in 2001 with inspirations from bands such as Morbid Angel, Deicide, Deathspell Omega, Death, and Gorguts driving their immediately imposing sound. Since forming the band has lit up stages alongside the likes of Origin, Hour Of Penance, Darkane, Texture and numerous others whilst releasing a pair of full-lengths. Demo release Delusional Perception of Reality was uncaged in 2005 to good underground attention. Its success went towards the band eventually signing with Unique Leader Records with The Disembodied – In Spiritual Spheres released in 2011 to potent acclaim and responses from fans and press across the globe. March of this year saw Evolving Towards Extinction uncaged to again strong reactions and with its threatening gait, testing hostility, and creative tempest it is easy to see why.

The quartet of vocalists/guitarists Patrick and Stéphane, bassist Simon, and drummer Guido give a brief twinge of sinister drama before going straight for the throat with some of the most rabid riffs and destructive rhythms sure to be heard this year. The entrance of Words of Wisdom literally bowls the senses over, savaging their very being with increasing toxic sonic violation and rhythmic barbarism as riffs gnaw their surface and heavy guttural vocal expulsions roar malevolently. It is a hellacious introduction, one which never relents in its intensity even as the guitars begin unwinding equally venomous grooves and an underling swagger. Subsequently melodic acidity and shifting gaits join the tempest to engage the imagination as impressive guitar enterprise burns the surface of the by now predacious crawl. The track continues to twist and spit animosity with every note, beat, and syllable as it persistently evolves for a staggering first assault of the release.

The following Between the Dying and the Dead is no less vitriolic and hostile but takes little time in colouring its grievous landscape with swipes of celestial yet demonic harmonies and ravenous inventive bait. The guitars NDC coverpersistently carve rich grooves and ingenious hooks into the body of the song whilst bass and drums sculpt a bestial baiting. It is a glorious ferocity soaked in rabid dread but unafraid to spare room for a fire bred solo and additional imaginative detours. The track is at its strongest and most potent when it is going for the jugular but all the unpredictability and at times unsure turns, definitely keep the imagination engrossed. Its stirring presence is emulated by the barbaric Intelligent Design, another slaughter of the senses which is prone to flirtations of sonic and fiery melodic scorching as well as intriguing almost wrong footing exploits. Not as gripping as the first pair the track still leaves a hunger in place which is further healthily fed.

Pandemic of Ignorance stalks ears from its first breath, its shoulders heavy laden with hate over a spine of rhythmic bile wrapped in vehemence spawned grooves. It is a pestilential predator, its slow crawl sheer intimidation until eventually breaking free of its reins for a throat tearing onslaught, ears and senses overwhelmed by a storm of merciless aural and lyrical rancor. It is a compelling violation which sets emotions up for the outstanding Praise the Lord of Negation. It also is a song which flies for the jugular, this time with a swarm of sonic pestilence and rhythmic cruelty; that alone baits and traps a new greed within the passions but it is the insatiable maniacal fury to its psychotic repetitious seducing which hits the sweet spot.

The leviathan weighted crawl of The Anatomy of Disgust wrapped in similarly laboured but magnetic grooves comes next, its sultry flames of guitar across bloodlust driven rhythms and destructive riffery highly satisfying but lacking the spark of certainly its predecessor. The animalistic Anagamin finds its own incendiary fuse to invigorated responses, its pestilence coated prowl inspiring an animosity clad weave of invention which pushes the song enticingly into the grinning imagination. In many ways the album ebbs and flows, to be fair not in quality and individual skills but in degrees of success with personal tastes. As the following rapaciously consuming title track and the carnivorous Vertigo prove there is never a track where Near Death Condition does not bewitch and threaten with their inventive sanguinity, or impress.

Evolving Towards Extinction closes with the deliciously nagging Communing with Emptiness, a track swarming with serpentine grooves and riffs around the ever impressive artillery of disorientating drum voracity and dual vocal abrasions, and finally Nostalgia for Chaos. The final song is a beast in nature and stature as well as gait, but as the previous song endowed with some scintillating and feverishly enjoyable guitar enterprise. The ferocious incitement brings the album to a formidable and rapturously thrilling conclusion leaving the listener breathless but wholly satisfied. It is an album which also gets better and more potent over time, still undulating with some of its moments but with a baseline of rich satisfaction, a strong recommendation of Near Death Condition and album to all extreme metal fans is a no brainer.

Evolving Towards Extinction is available now on Unique Leader Records @ http://www.indiemerch.com/uniqueleader/band/near-death-condition

http://www.neardeathcondition.ch/

8.5/10

RingMaster 17/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

Lesch-Nyhan – Lesch-Nyhan Syndrome

LN

The first album since their return, Lesch-Nyhan Syndrome makes a ravenous and richly satisfying confrontation from US death metallers Lesch-Nyhan. The successor to the band’s 1991 demo Indistinguished Remains, the seven track savagery is a rewardingly imposing and thrillingly incessant beast of a proposition, a bestial encounter recalling the seeds and original toxicity of the Philadelphia quartet whilst equally holding an unhealthy dose of modern intrigue and fresh faced twists. It is not an album to blow extreme metal away but certainly a ravaging to make Lesch-Nyhan’s comeback a highly joyous and thrilling one.

Formed in 1989 by vocalist Gary Hadden with brothers, Mark (drums) and Anthony Delacandro (guitar), Lesch-Nyhan was soon completed by bassist Greg Oreski and guitarist Mike Carr. Quickly getting to play live shows with the likes of Suffacation, Incantation, Crucifier, and Ripping Corpse, the band released their demo in 1991 from which the band was invited to play a showcase in front of numerous label representatives. What followed though was the demise of the band; a slow falling apart which new members could not bring any halt to with the band stopping in 1994. Fast forward to 2012 and a discussion between Hadden and guitarist Rob Vanderveer (a member of the last line-up of the band), about reigniting things, to “Put our stamp on this shit”. A year later saw Lesch-Nyhan reform with a re-issue of Indistinguished Remains on Horror Pain Gore Death Productions, just as the new album. With guitarist Jack Carmichael, bassist Chris Miller, and drummer Mark Stainthorpe alongside Hadden, Lesch-Nyhan has produced a riveting scourge of sound and intent with Lesch-Nyhan Syndrome, a furious hostility sure to excite those with an appetite of bands such as Autopsy, Bolt Thrower, Carcass, Gorguts, Immolation, and Napalm Death.

Recorded live in the studio helping to bring the raw brute creative force of Lesch-Nyhan to life, the album opens with World Destruction, a track as expected from its title with all the hostility and rancor to bring all before it to its frontcoverknees. It also comes with a passions binding groove which from its first breath grinds and worms deeply into the psyche as rhythms cascade voraciously down on the senses. Complete with the barbarous rancor of Hadden’s throat and the nagging contempt of the bass, it is an irresistible blast of insidious feuding which ignites appetite and passions just as forcibly as the album itself.

Its stunning start is not quite matched by the following Septic Hole and Flock Of The Misfortunate, though it is more to do with its might than their failings. The first of the two again is offering a scathing infection soaked groove around with rhythms bring a barbaric unpredictability and guitars a sonic smog of contagious endeavour. Vocally Hadden lurches syllable after syllable across the senses, his delivery breeding a pestilential persuasion which is as sinister and merciless as the predacious sounds scarring his way. It is another masterful proposition if without bringing too many surprises, similarly as its successor. The album’s third track prowls with purposeful weight and predation, every riff and rhythmic provocation concentrated in its oppressive incitement which an emerging fiery but respectful groove cannot defuse. With the vocals at their most demonically intimidating and caustic, the track sends primal shivers down the spite but fails to find the same spark to ignite the passions as the opener and subsequent tracks hold.

Bathed In Phlegm returns the senses to a tempestuous torrent of frenetic riffs and rhythms bred from the darkest despair. It is a storm which has a rein on its hunger though, switching intensities of gait and ferocity for a filth clad waltz of insurgent sounds and rabid animosity which ebbs and flows in its voracity and ultimately success. To be fair though it is a proposal which ears and emotions welcome with open submissive arms, but one again only stirring up the passions rather than igniting them. The following Regurgitation Through Decapitation has little problem in seizing imagination and those passions, such its corrosive beauty and invention. Marking the moment where the album reveals it’s most potent and addictive nature, the song thunders against ears with a wall of barbaric rhythms and an intensively fused swarm of riffs. It is tsunami of spite and malignancy turned into a sonic vendetta in turn driven by a great dual squall of vocal spite from Hadden feverishly backed by Miller. The song stomps and rages with little regard for the health of its recipients, bass and drums crafting a frame of tortuous entrapment which any dungeon would be proud of whilst the guitars and vocals lay waste with an emotion violation of hellacious enterprise.

The glorious rhythmic coaxing which brings the title track into view is one of those instinctive baits there is no resistance to, an insatiable coaxing which only increases its toxic potency when aligned to the serpentine bred vocal cancer brought by Hadden. It is not long before the enthralling leviathan tones of the bass stalk air and guitars spread their caustic waves, the emerging blend of ferocious rapaciousness only reaching deeper into the psyche and greedy hunger inspired by the album. Roving with pack like relentlessness, the track is a predator of sound and bestial appetite, its grinding incitement and gutturally shared narrative an evil suasion to unrelentingly and sublimely excite the whole body.

Lesch-Nyhan Syndrome is brought to a powerful close by Internal War And Hate, a final purge of hope and security brought with an increasingly dangerous consumption of single minded grooves and scarring riffs within a network of bass rabidity and rhythmic enmity. It is an outstanding end to a thrilling encounter, not one as we said to turn extreme metal on its head but a release to easily place Lesch-Nyhan back in the heart and intensive spotlight of death metal.

Lesch-Nyhan Syndrome is available now via Horror Pain Gore Death Productions @ http://hpgd.bandcamp.com/album/lesch-nyhan-syndrome

https://www.facebook.com/LeschNyhanMetal

8.5/10

RingMaster 16/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/