Warmblood – God Of Zombies

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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

Copyright RingMaster: MyFreeCopyright

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

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Laika – Somnia

Laika Press Photo

Though it ebbs and flows in the strength of its persuasion at times, there is no escaping that Somnia, the new album from Canadian melodic death metallers Laika is one compelling and thrilling encounter. It may not seemingly be bursting with open originality, the old school breeding of their style driving the creative tempests making up the album, but there is a specific drama and adventurous enterprise belonging to the band flowing through each fresh and seriously captivating persuasion that begs different. It is occasionally not as startling in places as it is elsewhere and maybe should be overall, but Somnia is certainly an impressive and lingering encounter ensuring that the name Laika will not just known for being that of the name of the Russian dog who became one of the first animals to travel to space.

Formed in 2009 with the name inspired by that hound, the then sextet soon drew strong local underground attention with the release of their full-length demo Crafting The Cataclysm the following year, and a live presence which has seen them play with the likes of All Shall Perish, Kataklysm, Necronomicon, Skeletonwitch, Abysmal Dawn, Septic Flesh, and Unleash the Archers over the past few years. The release of the Somnia EP in 2011 was subsequently followed by the band taking two years out to create and work on their debut album. Produced by the Winnipeg quintet, mixed and mastered by Ryan Forsyth, Somnia provides a striking and imaginative new assault for the band, one seeking and easy to see finding a more intensively crowing spotlight.

The release opens with Restless Mind, a brief instrumental which initially strokes the imagination with evocative piano drama against a ticking clock before expanding with a wash of similarly coloured keys and elegant harmonies. It is a laika 1-front cover- smallgentle and intriguing, if not startling, start which leads into the instantly imposing Escalation of Terror. It is a gripping entrance with riffs and rhythms offering hungry energy and intent straight away. Ears and appetite are ignited further as the bait intensifies with a muscular torrent of feverish grooves and vocal causticity crossing the intensive presence of the song. The keys of Steve Tedham bring rich and expressive hues to the great tempestuous intent of the track, their warm beauty a transfixing contrast to the raw scowls of vocalist Jordan Dorge and rhythmic provocation set by drummer Blair Garraway. It is a riveting blend which only grabs greater potency and suasion as ridiculously flavoursome and contagious grooves cast by guitarist Ian Garraway are matched by those throatily laid by the bass of Mike Mason.

It is a sensational incitement to body and emotions, a creative roller coaster which never dips below the exceptional on its way to setting up a hungry anticipation for the rest of the album. The title track is the first to feed that greed, its first touch rugged in riffs and beats but seductive in keys sculpted melodies. That evolves into a more expansive and less hostile landscape, though there is still a busy imposing air to the encounter. Guitars proceed to cast a sonic weave of enterprise and melodic tenacity across the still sinew driven terrain whilst the bass at times almost ventures into a post punk repetition and invention which, along with spicy grooves and vocal savagery, brings fresh character and intrigue to the enthralling track.

Both Fidelity and Caligae A Galea keep the creative and satisfaction levels high, the first stalking ears with a predatory attitude and gait but one fired in sonic invention and seductively inhospitable toxicity. As its predecessor, the track ripples with eclectic textures and imagination soaked ideation, defying expectations and binding eager attention from start to finish. It’s almost exhausting revelry and bold tapestry of sound is swiftly matched by the second of the pair. Opening on a heroic groove, its lure potent caped crusader like coaxing, the song growls and prowls with infectious charm and intimidation. There is a menace to it which Tedham’s craft can only wrap not defuse and Dorge’s grizzled tones easily accentuate. The song is soon providing an addictive canvas of sound which maybe is death metal based but just as pungently entwines a mass of flavoursome tendrils from the likes of noise and psyche rock to post punk and progressive metal. It is a stunning protagonist for ears and incessant lust for the passions.

The album’s pinnacle is followed by the enchanting instrumental Dream of Nothing, a magnetic and reflective slice of melodic beauty. Dark bass emotions lie easily with the sultry charm of keys whilst rhythmically the song walks with a firm and steady but restrained hand. There are also raw guitar crafted flames which intensify the expressive atmosphere and climate of the song, everything uniting for an immersive emprise of sound and imagination. The track also brings respite for the senses though they are soon under demanding pressure as the punk fired assault of The Immortal takes over. For all its ferocity and abrasing presence, it is another song unafraid to spring a web of melodic and expressive beauty in its successful trapping of ears and attention, and though in many ways it takes longer to persuade than elsewhere, it emerges as a simultaneously bitter and warm buffeting to devour with greed.

The final two tracks upon Somnia might not quite match up to their earlier companions, but each leaves no second or note unattended by the listener’s fullest attention. First up Predictions (Tide Bearer) rages and bristles with a merciless graze of sonic bad blood and vocal malevolence, a hostility which wears down the senses with its bruising but still flirts with the occasional melodic seducing. The tracks unrelenting pressure is followed by the exceptional majesty of final track Invaders, a song which sums up the album with its eclectic stock of sounds and spellbinding ideas within a virulent and concussive antipathy. The song is another intoxicating proposition leaving the listener basking in unique temptation and ready to share the glory of album and band.

Somnia just gets stronger and more impressive over time, shown by the fact that listening to it again whilst writing this, there are more reasons to argue against the earlier thought that the album is not as startling throughout as in particular certain moments. That gap closes with each venture, proving this is an album wanting more time than most to really reveal all of its consistent thick rewards and that Laika is a band with the potential to sit beside the ranks of Insomnium, Dark Tranquillity, and Amon Amarth.

Somnia is available now via Filth Regime Records and @ http://laikawpg.bandcamp.com/album/somnia

https://www.facebook.com/LaikaOfficial

RingMaster 23/10/2014

Copyright RingMaster: MyFreeCopyright

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Hellish Outcast – Stay of Execution

Photo by Fotograf Jarle Hovda Moe

Photo by Fotograf Jarle Hovda Moe

Simultaneously a tsunami of organic hostility and premeditated intimately defined brutality, Stay of Execution from Norwegian metallers Hellish Outcast is quite simply one of the finds of the year. Not that the Bergen quartet are real newcomers, the band has been tearing up the local underground scene since 2001 and making a potent announcement of intent with debut album Your God Will Bleed two years ago. Their new album though is a whole new murder-pit of creative antagonism and majesty from the band, a rhythmically crippling and sonically ravishing destruction and seduction of the senses. Described as thrash/death metal, their sound is so much more than that limiting tag, the album inescapable evidence of a vicious and scintillating tapestry of varied flavours and styles picked apart and used as weaponry in one of the year’s major triumphs.

Formed by guitarist Martin Legreid, bassist Mads Mowinckel (Breed), and drummer Mads Lilletvedt (Solstorm, ex-Byfrost), Hellish Outcast as mentioned was swiftly an attention grabbing and growing force in the Norwegian underground scene. 2006 saw the release of the demo Release You from Their Soil, and two years later came the unleashing of the Raping – Killing – Murder EP which drew keen and favourable attention on a wider scale. The addition of vocalist Thebon (ex-Keep Of Kalessin) in 2010 helped trigger a new twist and attitude in their already visceral sound, a spark ensuring Your God Will Bleed was well-received by a more potent spotlight . Stay of Execution takes it all to another level though, the expanse and maturity in sound and songwriting as marked as the greater insatiable brutality accompanying it. It is an album which tears senses and psyche asunder whilst serenading them with addiction binding grooves and melodic toxicity. Stay of Execution is exhilarating, rigorously compelling, and a release impossible to get your fill of.

It is fair to say that as soon as an avalanche of riffs and rhythms cascades down on the senses through opener Partition of Lust, the album takes a tight hold of ears and attention. It is an instinctively anthemic lure, the creative artillery of beats from Lilletvedt rigorously enticing bait within which riffs cast their own raw tempting. It is an onslaught which never waivers in its demands and punishing intensity, only increasing its savagery as the malevolent vocal squalls of Thebon explode in the maelstrom of spite. Though there is a repetitive core to the track, it just as grippingly unleashes strong variation in voice and grooving to provide the most hostile and irrepressibly addictive start to the release.

Things only accelerate in persuasion and ingenuity as the following punkish brawl of I Can No Longer See the Sun erupts. The song’s subsequent barbarous body is swiftly drawing on groove and nu-metal tendencies as it dips into the 10653627_10152640278209718_9183828471053285056_ndeath bred corners of muscular animosity. It is a bewitching pillaging of the emotions, at times crooning with melodic and harmonious beauty and in other moments stripping the senses bare with vicious and merciless invention. Its deceptive and thrilling mastery is soon emulated by the lethal breath and inhospitable landscape of Heresiarch, the track a stalking predator but again unafraid to sooth the wounds it’s rhythmic and sonic claws dig with a weave of warm melodies and spellbinding clean vocals. The song is ravenous in its fierce imagination and seductive through the grizzled radiance similarly expelled.

The corrosive rancor of the thrash fuelled Hunter Supreme comes next, its title perfect naming of the exhaustive sound within the predacious enmity masquerading as a song, before a new pinnacle is forged with Gods of Fear. This track is as primal as it is innovative, the opening crawl of riffs and bass intimidation bestial at best and tar thick malevolence at its deepest. It is soon engulfed in another thrash driven tirade of death and groove metal blood lust yet manages to hold a rein on its venom to more taunt the imagination and emotions. Scorched with a blistering solo, the track is a monstrous rancor and virulently infectious.

Leave offers its own outstanding violation next, its entrance a mellower coaxing than anything provided before on the album but also as portentous and menacing as those same companions. With a slow groan of a delivery from Thebon exposing the song’s narrative as at times vocal harmonies magnetically colour the background, there is a Faith No More essence to the brooding incitement, a similarly distinct inventiveness as the track seduces with clean vocals and grizzled snarls musically and lyrically. It is a transfixing treat setting up the listener for the impossibly contagious presence of Machines. With a robust swing to its stride and sonic tenacity to its enthralling enterprise, the track is loaded with a creative rabidity which is pure fascination. A round that is a ferocity which is honed into something controlled but forcibly hungry. The mid-point slip into a stark and dystopian like metallic soundscape does not quite work with personal tastes, mainly for the length it consumes before allowing the severity of the blistering storm to return, but it cannot derail another track from impressively igniting body and passions.

The album’s irresistible title track makes for a distinct and intriguing antagonist next, its winding grooves like sonic ivy entwining the imagination and lingering in grip, before both Morbid Attraction and Torment unveil their destructive and thrilling characters. The first is a nostrils flaring, fist pounding hellacious assault; riffs and rhythms scything and swiping respectively upon the senses with barbaric and deliciously infectious urgency whilst its successor almost glares at the listener with its initial imposing stance before casting a canvas which is as predatory in tone and effect as it is sizzling in unpredictability and melodic imagination. Both tracks, as the whole album throughout, share searing and unique displays of sonic invention from the guitars aligned to exciting vocal variation and an enslaving rhythmic animus. It is a starling blend, which in whatever individual form the combination comes, never loses the band’s almost inimitable touch.

The album comes to an end through the instrumental beauty of The Wait, an acoustic led piece of music which is expressive in melodies and spellbinding in elegance. It finally gives time for breath to be taken within Stay of Execution, though in some ways the senses feel it might have been more useful earlier. The track makes a provocative close to a devastating and mercilessly thrilling release whilst at the same time revealing yet more of the qualities and thoughtful adventure within the band.

Whether Stay of Execution is forging new scenery for extreme metal is a debate which can be argued either side way. It does provide without any doubt though one of the most exciting and refreshing releases this year, pushing Hellish Outcast to the frontline of brutal pleasure.

Stay of Execution is available via Listenable Records @ http://www.shop.listenable.net/en/81_hellish-outcast

https://www.facebook.com/HELLISHOUTCAST

RingMaster 22/10/2014

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Subservience – Upheaval

Subservience Promo 2014 LR

Equipped with a noticeably heavier presence and voracity in vocals and sound, metallers Subservience unleash their new EP Upheaval to not only reinforce the band’s reputation as being one of the most exciting extreme metal bands emerging in the UK, but push them towards the fore of British metal in general. Consisting of four savage and unrelenting onslaughts loaded with the insatiable grooving the band is renowned for, the release is a virulent tsunami of brutality and contagious predation. It hits and swings with greater ferocity and energy than a wrecking ball yet assaults ears and passions with an inescapable anthemic and easily accessible binding. It is a glorious rampage which you can maybe argue about its originality but cannot dismiss the skilled and vicious infestation it unleashes on the passions.

Hailing from Brighton and formed in 2010, Subservience has only constantly increased their presence and garnering of fans and support since releasing the Blueprint To Chaos demo in their first year. A well-received split with Sa-da-KO followed in 2011 before the EPs Dystopia and Ripped In Half of 2012 and 2013 respectively, caught a wider imagination and spotlight. Both were furious and intensive slabs of metal but in hindsight just a teaser for the might and fury uncaged by Upheaval. The first with new vocalist Dan Lofthouse, who alone has added a more potent almost bestial essence to the music through his uncompromising and accomplished tones, the EP bares a creatively forceful intensity in sound and craft which surpasses the band’s previous successes and puts up the band’s death metal bred, groove infested malicious emprise as a true attention grabber.

The release opens with its title track and coming from a distant sonic lure is swiftly colliding with the senses, the destructive and merciless riffery of Ryan Jardine and Martin Shouler carnivorous protagonists within the scything swipes of drummer Tom Newland. It is a callous assault but one unafraid to offer small respite with a melodic regrouping before unleashing its full venom again, though it continues to allow very quick breathes to be snatched within its pestilential savagery. It is an outstanding start, Lofthouse an irresistible and intimidating provocateur to sound and ears whilst the brooding but no less vicious bass riffs of Scott Bishop, bring further menacing colour to the corrosive portrait offered. As Subservience Upheaval Artworkthe release, the song is all about the grooves and hostility from its riffery and rhythms but there is no missing and refusing the twists of potent invention spawning all aspects and the infectious bait seducing imagination and passions.

Second track Inhuman Savagery has no shyness in consuming and brutalising ears from the off either, though grooves are quicker to ingrain their toxicity and the overall initial intensity of the song is slightly reined in compared to its predecessor. It is a tempestuous beast of a song, its sonic predation and merciless rhythmic inhospitality more enterprising and reserved in character but still colliding with body and senses like a mountain collapsing under the weight of its malevolence and antagonistic intent.

Slither comes next, stalking the listener’s senses and psyche from its first touch but winding a melodic enticement around its predacious coaxing. Of course it is not long before the song is gnawing and oppressing the senses with its caustic grooves and inflexible intensity but this is tempered by the slight but effective melodic lures which escape across the song. Though overall it lacks the spark of the tracks around it, the torrent of repressive riffs and rhythms which core the song predominantly ignite thoughts and passions, especially with the matching ear grinding guttural tones of Lofthouse on top, and the track another insatiable and irresistible incitement.

The EP is brought to a close by Divine Malevolence, vocals and thumping beats a colossal roar and bruising from its first second and the subsequent furnace of flaming acidic grooves and anthemic barbarity severe addiction. The track is a leviathan of searing grooves through a tar thick climate of cruel rhythms and scarring riffing, all driven and lorded over by the excellent almost tyrannical vocal presence of Lofthouse. It is a brute of a proposition which ensures a scintillating end to a thrilling release.

Subservience has pushed their potent sound in an impressive direction between releases and as suggested is now poised to step into the front line of British extreme metal. They have still a short way to go to forge a truly unique sound but with releases like this it is fun waiting.

The self-released Upheaval EP is available now.

http://www.subservience.co.uk/

RingMaster 15/10/2014

Copyright RingMaster: MyFreeCopyright

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