The Dead – Deathsteps to Oblivion

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Unleashing their third album, Australian death metallers The Dead confront the senses with an energy sapping, senses consuming slavering beast and that is just the first track upon Deathsteps to Oblivion. The title perfectly sums up the corrosive and emotionally damaging journey the band drags the listener upon. It is an intensive examination of thoughts and emotions traversing a quintet of excruciatingly heavy and intensive soundscapes soaked in a pestilential fusion of death and sludge metal filtered through the darkest doom laded climate imaginable. It is a sound which belongs to all three styles yet is uneasy settling in any, creating its own domain of raw originality which is familiar but more so innovative. It is a harsh and demanding proposition but also one unafraid to melodically and sonically explore its imagination and providing potent evidence as to why the band is so revered in many quarters.

Formed in 2005 with a line-up which included members of Obfuscate Mass and Misery, the Brisbane band swiftly released a demo followed by the Armoured Assassin single in 2006. Following a second demo the band’s self-titled debut album was unveiled the following year, an encounter making an instant and imposing impression on the underground scene. With the Nocturnal Funeral EP subsequently under their belt, as well as increasing their live reputation with shows over the years alongside bands such as Behemoth, Obituary, Kataklysm, Psycroptic, and Ulcerate, The Dead gripped greater attention with second full-length Ritual Executions. Widely acclaimed through its independent release and a reboot through Diabolical Conquest Webzine which evolved into Transcending Obscurity and release the new ravenous exploit from the band, the album lured the broadest attention and spotlights, yet as Deathsteps to Oblivion infests the psyche you sense it was nothing compared to the response the new encounter has the potential to trigger. The line-up of vocalist Mike Yee, guitarist/bassist Adam Keleher, and drummer Chris Morse consume and immerse the listener with an aural suffocation which is as inhospitable as it is inescapably captivating, an incitement stirring up shadows and intimidations which seduce as they savage the senses.

Opener Maze of Fire immediately confronts and surrounds ears with a web of threatening sinister voices, their demonic roars the lure into a wall of debilitating heavy handed riffs and equally destructive rhythms. Within that trap though there is a melodic coaxing from the guitar which sparks the imagination as still varied and intimidating vocals prowl over thoughts with their intrusive narrative and tones. It is a fascinating entanglement to be lost in, especially with the slip into haunting melodic scenery which is as visually potent as the visceral sounds and vocals which soon share its passage in time threatening. It is a track which inspires different feelings and explorations in the imagination with every listen, something apply to all songs on the album, but a perpetually gripping and challenging persuasion.

The following Disturbing the Dead is just as carnivorous in presence and tone, arguably even more predatory as it crawls with torment laden intent over the senses. Its first half is an unrelenting scourge of doom empowered angst and intensity, a thoroughly appetising violation but from there it without losing funereal despair and malevolence, a sonic and creative enterprise is agitated to lure like a beacon in the thick sludgy tar of the song’s insatiable heart. It is an intriguing and suggestive offering which as its last note lingers in the ear, seems like another world to the one dawning on a rally of gunfire and with destructive and blackened voracity, emerges as The God Beyond. It is the rawest assault imaginable, a caustic sonic haze frequented by hate and fury, but temporary as the battle field returns to provoke a richer and clearer, but no less torturous tempest of sound and exploration. A constant test and provocation, the track is a maelstrom which is uneasy on the ear but wholly seductive upon thoughts and emotions. It is a song which it is hard to get a full handle on in sound and narrative but one inspiring a hunger to find the answers within its cavernous despair.

Terminus swerves in on a rhythmic seduction next, tribal and suggestive beats from Morse transfixing with exotic persuasion whilst bass and guitar flirt with their own sonic teasing. This is again just the doorway into the harshest shadows and challenging depths of the band’s creative rabidity, a serpentine breath accompanying the emerging vocal scarring and ruinous air of the track. Of course it is only part of the picture, melodic intrigue and clean vocal tenacity adding their twists to the sonic mystique and imagination which evolves within the black fog of sound. The track sends shivers down the spine as it seduces and gnaws on the psyche, taking best track award though the closing title track seriously challenges there. It too is a smothering tapestry of threat and invitational suggestion, extremes colluding and toying with each other within a cavern of uncompromising and ravenous aural profanation.

The five years between albums has only seen The Dead find new fears to exploit and nuances to discover in listener and their music respectively. Deathsteps to Oblivion is not for the faint hearted or emotionally sensitive, but to challenge and reward the corners of mind and soul it is maybe the most essential must investigate release of the year.

Deathsteps to Oblivion is available digitally or on limited edition CD now via Transcending Obscurity @ Transcending Obscurity https://transcendingobscurity.bandcamp.com/album/deathsteps-to-oblivion-death-metal-sludge

https://www.facebook.com/lordofthelivingdead

RingMaster 19/11/2014

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Idol of Fear – All Sights Affixed, Ablaze

 Photo -Jamie Morton

Photo -Jamie Morton

Idol of Fear’s sound is like the black shadow or light limited passage way which manages to be simultaneously inviting and threatening whilst offering the possibility of safety or the darkest outcome. Hailing from the Barrie/Toronto area of Canada, the band creates an imposing and immersive soundscape of extreme metal which comes with a blackened heart and experimentally fuelled provocation. It is a fiercely challenging and rewarding confrontation as evidenced by the band’s debut album All Sights Affixed, Ablaze, eight individual torments which align for one grievous and pestilential seduction of ears and imagination.

Formed in 2011 with a name inspired by the quote from Ingmar Bergman’s 1957 movie Det Sjunde Inseglet (The Seventh Seal), “We must make an idol of our fear and that idol we shall call God”, Idol of Fear made an imposing statement with their 2013 EP Scavenger. It awoke attention but you suspect nothing to that which All Sights Affixed, Ablaze has the potential to ignite. Recorded across 11 months of “fiery personal turbulence and development, musically and otherwise”, the Tore Stjerna (Watain, Corpus Christi) mastered and Jeff Wardell mixed album is a unsettling maelstrom of fierce flavours and expressive invention, merging everything from black and death metal to progressive, occult, and avant-garde experimentation. It is not always an easy listen, and often a test of stamina and the senses, but always All Sights Affixed, Ablaze is a gripping and epic fall into the depths of the band’s raw imagination and sonic voracity.

Opener Vanquish instantly smothers ears in an intriguing and imposing web of enterprise and sound, the guitars of Dave Bach and Austin Myers an immediate blaze of caustic provocation with melodic seducing. This is soon joined by the raw vocal rage of Myers and the rhythmic intimidation unleashed by drummer Doug Belcourt and bassist Johnny. The song instantly allows no escape from its oppressive yet magnetic tenacity, grooves and melodies searing the senses as rhythms bruise and vocals scar. As eventually discovered on all tracks, there is also a fascinating drama to the lyrical and sonic side of the track, as well as a skilled investigation of distinct flavours amidst constant twists. The song also proves that this is an album which needs time to explore, often its real and undoubted treasures lying well beyond its surface storm and violation.

The following Morningstar makes a more merciful entrance but is soon immersing ears in a persistently shifting and ravenous tapestry of corrosive riffery and radiant sonic endeavour. Swiftly cover1an even greater variety of spices are at work on the imagination alongside an inventiveness which manages to assault, stalk, and seduce with sublime efficiency and temptation, the track’s scenic passage of atmospheric resonance and melodic caressing within a rhythmic enslavement quite delicious. Its fluid cold causticity and enthralling beauty makes way for the darker and harsher Circle of Vortices, a scathing and consuming piece of music inflamed by the malevolent tones of Myers. Again though there is radiance to its persuasion and invention, its soundscape harsh but haunting, cold rather than bitter. The track also slips into bewitching melodic scenery, its calm stroking of the senses a hopeful snatch of light before the song again savages emotions.

The album’s title track is a lively jungle of rhythms and fascinating inventiveness within smog of crushing intensity and smothering dark emotion. There is nevertheless a flirtatious element to the song and an unmissable swing which makes it almost joyful and mischievous, certainly in comparison to previous tracks, whilst the following It Demands brings its own addictive predation to the expansive dark of the album. It also prowls with an enticing lure, guitars scything and taunting across a heavy bassline and provocative beats with venomous yet invitational potency. The bordering on picturesque craft and colours sculpted by Bach and Myers transfix throughout but as mentioned time given reveals the full strength and depth of their and the whole band’s ingenuity.

This period of the album ignites the passions most fervently, the next up It Militates with its hunting riffery, anthemic rhythms, and captivating sonic intrusiveness adding another peak to the increasingly impressing album. The song is a real predator, one luring with sinister beauty and ravishing with coarse hunger. Its triumph is followed by the even more hellacious body and soul of It Tyrannizes, a tsunami of erosive intensity and creative barbarity with engrossing melodic tendrils and sonic rapacity across the tempestuous consumption. These are enticing hues harkening the longer calm and elegant reflection which emerge, though all is eventually swallowed by a new twist in the furnace of the narrative’s animosity.

The closing Carrion provides a blackened exploration of raw ambiences and dark forces, its crawling serpentine temptation and sonic resonance a colluding suffocation and primal seduction. It is an absorbing instrumental bringing the fascinating trespass of senses and emotions to an evocative and climactic close.

All Sights Affixed, Ablaze is a testing and demanding proposition but one with lingering and intensive rewards for body and mind. It is an album which no one should judge or rest upon over just one or two listens, but an incitement from Idol of Fear which warrants and deserves numerous dives into its unrelenting sufferance for the most compelling and unique experience.

The self-released All Sights Affixed, Ablaze is available from November 18th via http://idoloffear.bandcamp.com/album/all-sights-affixed-ablaze

http://www.idoloffear.com/

RingMaster 18/11/2014

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Sidious – Revealed in Profane Splendour

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The first infestation of pestilential temptation came with Ascension to the Throne Ov Self and now the ruinous seduction returns to devour the soul as Revealed in Profane Splendour.

No, this is not a portentous warning of biblical design but the next inescapable savaging cast by UK blackened death metallers Sidious. Following their acclaimed and attention gripping debut EP, the London quartet now unleash their first album and it is fair to say that everything potent and impressive about its predecessor has been bred, dragged, and sculpted to another irresistible level.

Ascension to the Throne Ov Self was a disarming introduction to Sidious upon its release in 2013 but in hindsight just an appetiser of broader and more intensive invention and imagination to come from the band as swiftly evidenced by Revealed in Profane Splendour. Between releases the band which features members of Eye Of Solitude, has had movement in its line-up with the departure of vocalist Tom “Void” Allen and the coming in of Krhudd, the man behind solo project COLOSUS. With guitarist Isfeth adding lead vocals to his role in the band, Sidious has found further depths and exploration to their songwriting and rigorously imposing sound, their album not only another striking offering from the band but one to assert with greater potency and authority their leading role in the future of British extreme metal. Released on Kaotoxin Records, Revealed In Profane Splendour is an insatiable temptress which from its enslaving first moments takes ears and imagination through an epic emprise of almost carnal and certainly uncompromising raw beauty.

Recorded with Russ Russell (Napalm Death, Dimmu Borgir), Revealed In Profane Splendour emerges through a haunting sonic groan as opener Sacrilegious Majesty sets things in motion. Within a breath pungent anthemic drums are casting their irresistible bait upon ears and imagination, riffs just as hungrily skirting their potent lead. Portentous melodies amidst a sinister air joins the expanding landscape but it is still those provocative beats which provide the richest coaxing before a maelstrom of intensity and malevolence erupts in sound and vocals. It is a ravenous consumption of the senses within which grooves and hooks flirt with the listener without always breaking free from the oppressive strength of the track. It is the drama of the song which ignites thoughts and emotions as much as anything though, every rhythmic swipe and sonic tempting adding to an epic excursion into dark realms and a fateful emprise. Ending as it’s began; the track is a riveting and thrilling entrance into the album and an immediate declaration of the new creative strength and ingenuity within the band.

The following Inexorable Revelation is less startling in its opening but still a forceful impact as riffs and rhythms career through ears with hellacious urgency as keys alongside sonic enterprise tantalise with menacing suggestiveness in Sidious-Revealed-In-Profane-Splendour-coverthe background of the thick violation. It is a torrential outpouring of malicious and imaginative provocation which deeper into its heart you go, the more toxic elegance and emotive grandeur is shared. Exhaustive in touch and intensive ideation, the track bridges the serpentine animosity of black metal with the corrosive predation of death bred fury for another welcome and scarring persuasion before the album’s title track spreads its blistering venomous charm. As the last track it is a tempest of fierce creative twists drenched in insatiable energy sculpted and provocatively honed into a climatic and vehemence soaked inventive soundscape.

There is no mercy given by any song, each a psyche devouring, emotions despoiling rage as proven with the next up Annihilation Ov Abhorrent Credence and its successor Obscenity Ov Old. Each though colours their rugged canvas with an evolving cauldron of melodic ingenuity and intuitive invention which may need close attention but rewards with a fiercely busy and oppressively seductive blaze of invigorating enterprise. The first of this pair a case in point, its cloistral entrance the doorway in to a ravenous insurgence in theme and sound upon religious templates and the listeners senses. Simultaneously stalking and rampaging through mind and body respectively, the track is a scintillating marauder chewing upon ears and emotions with virulent and destructive rabidity. Its glory is emulated by the second of the two, a similar yet distinctly separate beginning the unveiling of a bestial and ravenous violation complete with torrential spite and as in the last track, bewitching clean vocals which escape the carnage for exciting deviation.

A cold ambience brings Infernal Reign to light, its chilling landscape swiftly scored by inhumane vocals and a brewing sonic causticity. There is little time for frost bite to set in before rabid rhythms bludgeon the senses and venom spilling grooves begin squirming under the skin of song and passions. It is an increasingly transfixing fascination of sound and emotion which is as debilitating in its calmer moments as it is in full cruel flow, the fine mix of vocal styles a driving force in that success.

Revealed In Profane Splendour is brought to a close by O Paragon, Bringer Ov Light, a dare one say mellower track, certainly initially which is soon merging floating celestial harmonies with predatory beats and hungry riffery. It is a song which at times seems like a recap of other tracks essences but once it brings out its own warped rhythmic antagonism and sonic majesty, the track turns into a searing and spellbinding intrusion.

It is a mighty conclusion to an increasingly imposing and impressing release. Revealed In Profane Splendour is a startling step on from the band’s first EP, employing all of its assets in viciously richer and deeper cavernous dark hymns. Sidious is on a demonic march with sounds to breed fear in even the devil.

Revealed in Profane Splendour is available now via Kaotoxin Records on CD @ http://www.kaotoxin.com/shop/cd/sidious-cd-pack/ and digitally @ http://listen.kaotoxin.com/album/revealed-in-profane-splendour

https://www.facebook.com/sidiousofficial

RingMaster 05/11/2014

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Warmblood – God Of Zombies

WarmbloodBand

There is something invigorating and healthy about being accosted with visceral sonic spattering and rhythmic brutality, especially when it is unleashed with a technical tenacity and dexterity which grips the imagination. Such a striking infestation is God Of Zombies from Italian metallers Warmblood. The album is a delicious adventure of sinew shredding barbarism and senses searing viciousness with the tendency to simultaneously seduce with rich melodic flames and unpredictable invention. It is a wrath of melodic death metal riding the hostility of thrash and temptation of groove metal into a blood drenched terrain of decay and ravenous intent. Oh, it is also one thoroughly compelling and impressive assault too.

Warmblood began in 2002, founded by vocalist/guitarist Giancarlo Capra and drummer Elena Carnevali. Soon expanding to a trio with bassist Ivan Marconi, the band released a demo the following year. It was in 2009 that debut album Necrocosmos Destination was set free on the world, the time between releases seeing second guitarist Davide Mazzoletti join the Lodi band but Marconi leave. Deciding to continue as a threesome without a bassist, the band continued earning attention and praise for their live performances across shows and festival appearances, with their first album drawing a keen spotlight at home and further afield. A year later the band signed with Punishment 18 Records and released second full-length Timor Mortis. Inspired by the films of Lucio Fulci, it showed further evolution and hungry invention in the band’s sound. Supported by shows with bands such as Asphyx, Infernal War, Kraanium, Antropofagus, Psychofagist, and Blasphemer, the well-received encounter awoke stronger attention upon the band. Now with the release of God Of Zombies through Spew Records (Punishment 18), it is easy to expect the broadest recognition coming Warmblood’s way.

Opening on the portentous apocalyptic Intro (Zombie Genesi), an dramatically orchestrated instrumental piece soaked in menace, the album flies headlong into ears with Post Mortem Transfiguration, riffs and rhythms a torrential provocation from its first breath. Equally there is a tantalising sonic endeavour coating the tempest, scorched melodic temptation which sparks the imagination ready for the full weight and brutality of the song. Driven by pestilential gut wrenching vocals, the track smothers and infects with toxic intensity. Every syllable comes with a dose of festering ire and decay whilst the trash seeded thrust of the song is as rabid as it is uncompromising. Entwining that though is an invention of sonic intrigue and enterprise which spellbinds in its skill and adventure. It is a hellacious and exhilarating start to the album and only matched by its successor.

Contagium Escalation consumes ears with an even more hostile and urgent predation before honing a heavily thumping stride from which eruptions of malice and invention snare attention. It is not as easily flowing as its predecessor WarmbloodCoverbut still a captivating maelstrom of technical skill and inflamed agitation. Though the band has no bassist, there is a heavy tone which at times is hard to define whether it is bred from four strings or a baritone guitar but relentlessly gives tracks a richer ravenous shadow and depth, as shown by Eucharist Dead Flesh. Swaggering with a thrash seeded intimidation and energy, the song is a hostile flirtation, teasing and tearing the senses with its cantankerous and scarring scythes of sound and malevolence, an attack at times swathed in some quite delicious melodic ingenuity. It is a blistering treat of a violation but only the start of an extended new plateau breached by the album.

The next up Unfaithful Celebrant immediately and virulently entices with its rolling beats before sultry grooves salaciously bind rhythms and passions with their flirty designs. The track writhes with tempestuous persuasion, grooves an irresistible and twisted temptation amongst which a low slung growl adds its own enticement as beats unload their spears with composed yet violent intent. It is a glorious and inescapably addictive creative fury, the pinnacle of the album and alone bait to ensure Warmblood comes under the radar.

Both the thrash fuelled title track with its melodic familiarity and the ruggedly feisty Replaced by Death keep thoughts and emotions fired up, the first an evolving landscape of sonic colour and swinging hooks which is as evocatively restrained as it is furiously uncompromising. The second of the two is more of an unrelenting predator than the previous proposition but still prone to releases of exceptional melodic and skilled enterprise which seamlessly merges into the raw causticity and intensive provocation of the track. Vocally too persuasion is an instant slavery, the bestial yet seriously infectious tones of Capra an unending nightmare you only want to immerse deeper into, much as the album itself.

Culmination of Final Transformation is arguably the least hostile encounter upon God Of Zombies but one of the most engaging with its thick weave of melodic and sonic drama whilst the following Zombinferno is the last chapter to the demise of the album’s narrative. Opening with a vintage cinematic sample, the track explodes into prime rock ‘n’ roll whilst its death metal toned flanks ripple with animosity and a merciless rhythmic badgering is without brakes in speed and malice.

Closing with Ite Missa Est, a peace restoring of guitar sculpted instrumental beauty, God Of Zombies is corrosively spellbinding. It has a familiarity to it at times but just as thick originality across it too which makes it trap and feed ears with consummate ease. Warmblood is a band ready to break into the keenest spotlight, whether extreme metal is ready for their creative bloodlust is another thing.

God Of Zombies is available now via Spew Records

https://www.facebook.com/warmbloodband

RingMaster 30/10/2014

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Critical Dismemberment – Feel My Wrath And Tremble EP

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Embracing the senses in a maelstrom of sonic and brutal exploration, listening to the new release from US extreme metallers Critical Dismemberment is as uncomfortable as it is invigorating, and quite compelling. The Feel My Wrath And Tremble EP is raw and gripping, caustically and creatively riveting, and a stirring gateway into one intriguing and imposingly inventive death metal band stalking the underground scene.

Hailing from Arkansas, Critical Dismemberment consists of Erik Martin and Chase Fincher. Forming the project over the internet, the pair was soon brewing up a distinct sound merging death and black metal with symphonic and electronic invention. The outcome as evidenced on their new encounter, is a proposition which is as cruel as it is magnetic, an uncompromising hostility veined by electro and melodic intrigue driven by refreshing unpredictability.

     Feel My Wrath And Tremble opens with the swift invitation of The Coming, guitars an easy enticing lure to snare attention before a thick and smothering intensity forcibly descends over the senses. This in turn breeds a heavy predation in beats and riffs. Yet still it seduces as it leads into the initial melodic coaxing of the title track. It too in no time opens up a vat hostile intent under an abrasing atmosphere. Vocals are pestilential and riffs voracious whilst beats pierce the tempestuous persuasion with purposeful spite; it all consuming ears and imagination with ravenous and destructive animosity.

It is an uncompromising examination yet has a contagious core which nothing can defuse, as shown again in the excellent incitement of The Seventh Trumpet Sounds. From its first breath vocals spread serpentine animosity and coarse malevolence whilst grooves entwine and gnaw on the senses with addictive enterprise and spicy temptation. It is a ferocious challenge which swiftly enslaves ears and imagination as it punishes the senses, an assault which breeds a greedy appetite for more with its keen creative adventure and merciless hostility.

The Damnation of Elizabeth weaves a tantalising mesh of electro agitation with hoarse vocals next whilst a symphonically seeded melodic orchestration flirts with the imagination. It is just the prelude to a tempest of heavy electro swipes and blackened grooving though, they in turn slapped by rhythmic intimidation and pungent jabs of primal riffery and Nintendo-core fascination.

The release is concluded by firstly Room 911, it emerging from the same almost bedlamic charm its predecessor left in before escorting caustic riffs and scaring vocals squalls in siege of the senses. The track is a smog of sonic abrasion and vocal venom, yet its invasive and quarrelsome cloud of animosity again belies the enticing melodic underbelly and symphonic tempting which works tirelessly away.

Final track Nightmares End, lives up to its title though there is no closure to the sinister and voracious black and death metal corruption within the track. As all the songs, it is a gripping patchwork of sounds and flavours converging into one persuasive death metal violation. Rhythms often unveil a post punk punctuation whilst keys and melodies spring from a Disney does Zombieland type landscape, though there is nothing safe and comical about the outstanding sufferance cast by the track. It is an excellent end to a fine assault from Critical Dismemberment.

Feel My Wrath And Tremble is from the bottomless corruptive pit of extreme metal’s underground, evidence of the enthralling creativity and raw talent lying in wait to prey upon ears and emotions. This might not be one of the kindest propositions to challenge your senses this year but certainly it is one of the more enterprising and exciting.

The Feel My Wrath And Tremble EP is available via Bluntface Records from October 31st @ http://www.bluntfacerecords.com

https://www.facebook.com/CriticalDismemberment

RingMaster 30/10/2014

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Deserted Fear – Kingdom of Worms

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An unrelenting storm of death metal embracing the genre’s varied grounding seeds and a more modern creative voracity, the second album from German metallers Deserted Fear is an uncompromising and brutal onslaught. Kingdom Of Worms is also a release which manages to feed expectations and throw curveballs at them simultaneously. It is a storming onslaught, never taking time out to rest on its ferocious laurels and give the listener any real respite from its hostility. A game changer or unique challenge for death metal the album is not, but as an attention grabbing confrontation and another big step in the rise of the band, Kingdom Of Worms is a rigorous success.

Hailing from Eisenberg, the trio of vocalist/guitarist Manuel Glatter, guitarist/bassist Fabian Hildebrandt, and drummer Simon Mengs was soon drawing local attention from the emergence of Deserted Fear in 2008. It was debut album My Empire in 2012, following an earlier demo, which suddenly triggered keener and broader spotlight upon the band. Soon the European metal scene was taking eager notice of them, even more so as they subsequently made acclaimed appearances at festivals such as Summer Breeze, Party San Open Air, and Extremefest. Now Deserted Fear has unleashed the next instalment of their emergence, and it is easy to suspect that the Dan Swanö (Edge Of Sanity, Bloodbath) mastered release will stir up another torrent of potent praise and concentration on the band.

The climactic, epically toned Intro opening up the album is nothing new in extreme metal nowadays but it has to be said that even though you almost expect this kind of beginning to an album, it cannot defuse the portentous and potent lure of the piece before it leads straight into the mighty rhythmic paws and sonic ravishing of Forging Delusions. It is an instant brute of a song with nostrils of imposing intensity flaring and sinew sculpted addictive grooves inescapably binding the imagination and passions. It is hard to get enough of the fiery proposition the song offers initially, and even as its relative restraint slips to open up a maelstrom of hostile rabidity, there is still that increasingly compelling groove driven bait insatiably seducing. With a heavyweight thrust of thrash ferocity aiding the all-consuming attack, the track is a storming start to the album.

The title track comes next and it too is swiftly consuming ears and appetite in tightly gripping grooves as the feet and arms of Mengs uncage hellacious energy and skills. As its predecessor, it too is unrelenting in its savagery and tenacious DF_Kingdom of worms_COVER_blackback_wwwenterprise, its touch raw and caustic yet equally coaxing and contagious as guitars weave a melodic tapestry. The scintillating song is a cauldron of craft from each of the band individually and in a united animosity of sound and rhythmic barbarism, whilst vocally Glatter growls with a depth and ferociousness that you feel for the lining of throat and gut.

The pair of Call Me Your God and Wrath On Your Wound, unveil their own spiteful landscapes of sonic and rhythmic enmity next, the first an intensive avalanche of bitter riffs and destructive beats scarred by the increasingly corrosive tones of Glatter, whilst the second is a fully fledged rage with malice dripping from teeth clenched vocals and spiralling grooving which line the bruising thrust of the transfixing song. Again Menghs proves himself to be an attention grabbing beater of skins whilst both Glatter and Hildebrandt spin a creative web which is as intrusive as it is enthralling.

The melodic breath and elegance of Torn By Hatred comes next, a short instrumental which does provide the one moment of mercy and warm colouring in the album, before The Agony pillages the senses with its blistering stride of riffs and sonic endeavour. It is a bestial proposition in voice and breath, but with the vocals finding their own animalistic growl and grooves another heavy dose of toxic infectiousness, it is an encounter which is happy to rearm established genre ideation with the band’s own flaming resourcefulness. Its intensive suasion is followed by the lean swagger and predacious stalking of With Might And Main. The track almost saunters as it batters and impedes on the senses, providing another delicious and almost anthemic provocation to engage in.

The slower entrance of Shattering The Soil makes for a different slant to the release though it is soon submerged in another unbridled fury of sound and intent before Mortal Reign parades its rhythmic and caustic rancor with vicious relish and skilled endeavour. Neither track lives up to what came before though each definitely only adds to the pleasure reaped from the album. The pair seems to be revisiting some of the success of earlier tracks in some ways and confirm that there is a surface similarity across some songs which defuses some of the strength of Kingdom of Worms. It is not an issue when the album is given proper and deeper attention, the diversity between songs soon discovered, and such the quality of the songs it is ultimately not as problematic as it might have been anyway.

The release is brought to a close by Last Of A Fading Kind, another engrossing and richly pleasing incitement but as the two previous tracks, it does not quite live up to certainly the stunning first half of the album. It is still impossible to dismiss and escape its masterful textures and tempting though as it brings a potent conclusion to Kingdom of Worms though.

Deserted Fear epitomises all that is compelling about death metal whilst infusing it with their own emerging brand of startling invention. New album Kingdom of Worms is not going to change the face of extreme metal but it does give it another intensively flavoursome savaging to devour.

Kingdom of Worms is available via FDA Rekotz from October 24th and at http://www.desertedfear.de/index.php/shop

http://www.desertedfear.de

RingMaster 24/10/2014

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Bloodlust wrappings and carnal tempting: talking Cannibal Corpse with bassist Alex Webster

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The unleashing of a new Cannibal Corpse savaging is always a cause for eager investigation and so the recent release of thirteen studio album A Skeletal Domain was met with enthusiastic intrigue. No matter your taste for their visceral sounds, the US death metallers has been an undeniable driving inspiration and boundary beater within the genre which the new release reaffirms with raw potency. Leaping at the chance to get a glimpse into the making and background to the album, we took some of the spare time of bassist Alex Webster as the band continue on their successful European tour, to talk album, new producer, zombie video, and much more…

Hi Alex and thanks for sparing time to talk with us.

With latest album A Skeletal Domain earning predominantly and deserved acclaim from fans, the metal underground, and beyond since its recent release, did you have any specific hopes and expectations for its unleashing, other than hoping it is liked of course?

Not really. I mean, we feel the same way about all of the albums when we put them out I think. A new album represents the best music we could make at that point in time. I guess since we had a different producer this time we were interested to see what people would think of that, but really our expectations were about the same as always.

Your thirteenth studio album, how were emotions around the unveiling of a new release after two and a half decades laying waste to metal and ears?

Like I said, about the same as always. We are very proud of the new album and hope that our fans will like it.

We felt there was of course the recognisable Cannibal Corpse sound to the album but also fresh exploratory twists to its voracious enterprise and vehemence fuelled depths. How does its sound and presence differ from say its predecessor Torture for you there on the inside?

I think the biggest difference is probably in the production, which was handled by Mark Lewis this time around, rather than Erik Rutan. Both are great producers but each has a different way of approaching recording.

I think the album is also a bit different when it comes to song writing. It just sounds a bit different. There are a few songs on this album that (in my opinion) sound quite unusual for us. It’s still death metal, just a bit different.

Was there any deliberate direction and ideation taken in regards to its sound and intent or was it more an organic evolution emerging as A Skeletal Domain emerged?CannibalCorpse-ASkeletalDomain

We just wrote the song individually and gradually the character of the album developed. We didn’t really have a plan; we just tried to write the best music we could.

After so many releases and years is it easier to sculpt something original to the band or more difficult, with as we find in music in general ideas and sounds going in cycles as in fashion?

We definitely try not to repeat ourselves, but of course it happens anyway. But we do make a deliberate effort to make each song sound unique and fresh.

As you mentioned you recorded the album with Mark Lewis this time around after working with Erik Rutan for the previous trio of albums. What was the reason for the move and why specifically did you go with Mark?

We had gotten to know Mark pretty well since he lives in Florida like we do, and we thought he was a cool guy- so his personality was part of it. We also really liked the work he had done with bands like Six Feet Under, Deicide, and Devildriver. His skills, personality, and convenient location of his studio made him a perfect choice.

What has he particularly brought to A Skeletal Domain which is different to its predecessors and works most potently with your new ideas?

It’s hard to explain so it’s better for the reader to listen and compare. He just has a somewhat different approach to recording than our previous producers, and I think you can hear it right away.

Was a change of producer an early intent as songs and the album began coming together?

Yes, we decided at least half a year before the recording date that we would work with Mark this time.

How did the band approach the studio this time around and was it pretty much as you went into the recording of previous albums?

It was different, since it was a different producer and studio. We were well prepared, as we always try to be, but things did go a bit differently once we started. Mark is a great engineer and editor, and things went very smoothly during the recording. We had a great time and we’ll likely work with him again.

cannibal-corpse_photo02The album is sonically and lyrically as visceral as ever, as expected from a Cannibal Corpse provocation, what breeds the first seeds of songs more often than not?

The music comes first, then the lyrics. The songs are usually written individually at home by each song writer, and then once the song is finished or almost finished, the band will learn their parts and play the song together to see how it sounds. For each writer, the songs probably start out with a main riff and develop from there.

On this album Rob wrote music for 2 and 1/2 songs, I wrote 4, Pat wrote 5, and Paul wrote music for half of a song. The lyric writing was varied in a similar way: Paul wrote 6 songs, I wrote 4, and Rob wrote 2.

At times it feels from the outside that successful and established bands like yourselves come under a harsher and more predetermined focus from the major media spotlights. How have you found it and particularly in regard of A Skeletal Domain?

It’s hard to say. I think by now everybody already has an opinion about us and a new album is not likely to change that. The press that likes us still will, and same for the press that doesn’t like us. Their opinions don’t seem to be very flexible

Can you give us some background and insight into the imposing and startling video for Kill Or Become from the album?

The video was directed by David Brodsky; he created a concept based on the song’s lyrics and went from there. We think he did a great job. We’ve been writing about zombies since our first album, so I guess it’s about time we had a full-on zombie video.

As one of death metal’s leading lights and inspirations for seemingly ever, how do you see the expanding depth and diversity to the genre? Do you embrace and takes sparks from its ever growing expanse of exploration or prefer a more old school focus to feed your personal tastes?

I like anything that sounds good to me. Some newer death metal is amazing, and I still listen to plenty of the old stuff too. If it’s well-written and heavy I usually like it.

Listening to A Skeletal Domain there are seemingly essences from other genres and styles which flirt with ears and thoughts however slight and whispered they are. What are the inspirations outside of extreme metal which you would suggest have added something to the band sound or ideas over time?

We all listen to lots of different kinds of music so that probably directly and/or indirectly influences how we write. For me personally the classical music I’ve listened too might have an influence.

Where do you see Cannibal Corpse in the ‘family tree’ of inspirations and contributors to death metal?cannibal-corpse_photo06

Hopefully we are considered an important part of the death metal family tree, part of the 2nd wave after Possessed, Death, Master, Massacre, and other earlier bands.

What is left in 2014 going into next year for the band to devour and offer?

We’ll be doing lots of touring in support of A Skeletal Domain. We are currently on tour in Europe; next year we’ll do a big tour of Canada and the USA. So we have some big touring plans ahead.

Thanks again for sharing time with us. Any last thoughts you would like to offer us?

Thanks for the interview! We hope to see all of our fans on tour soon!

Finally is there anything grotesque and blood fuelled which the band has not yet explored but you have a yearning to attack at some point?

I don’t know! We’ll see when we start writing the next album.

Check out our review of A Skeletal Domain @ ringmasterreviewintroduces.wordpress.com/2014/09/17/cannibal-corpse-a-skeletal-domain/

http://www.cannibalcorpse.net/

Pete RingMaster

The RingMaster Review 23/10/2014

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