Aborted Fetus – Private Judgement Day

Aborted Fetus 2014 band photo

    As shown by their previous trio of albums, listening to Russian brutal death metallers Aborted Fetus is a savage and uncompromising experience which you either embrace or flee from. New and fourth album Private Judgement Day is no exception, the ten track pestilential slab of sonic corruption a pernicious and brutal onslaught. Following its acclaimed predecessor Goresoaked Clinical Accidents of 2012, the new album continues the presence and sound found through previous releases which to be honest does not carve out any dramatically new ventures for band and genre, but with discomfort an imposing embrace and barbaric seduction a healthy toxicity, the album is a tantalising proposition for all extreme death metal fans.

     As their 2010 album Fatal Dogmatic Damage, the new sonic scourge is released via Comatose Music and engulfs the senses in scarring riffs, vicious rhythms, and swinish vocals. Mercy is undoubtedly not in the vocabulary of the band, the album even in its ‘quieter’ moments unleashing pure corrosive venom, and from the first full breath of opener Savage Dominance, the quartet engages in bestial rabidity. The first song emerges from a cinematic drama, a visual plague engulfing the imagination before the band explodes out of the landscape with pure sonic predation from the guitar of Alexander “Meatgrinder” Chernishev. Courted by the heavy malevolence of bass from Roman Kozodoy and the rhythmic antagonism of Andrew, the insidious vocal delivery of Alexander “Implant” riding their onslaught with primal vitriol, the track is a swift and punishing thorn in the senses.

    The strong start is just as violently followed up by Necropolis Demography and Garden of Kidney Stones, the first Aborted Fetus - Private Judgment Day 5x5 300dpicharging head long through the ears to scorch the senses before switching gaits with a slower rapacious tempest and then returning a ferocious speed into its again brief stay. Most songs on Private Judgement Day offer a fleeting fury in length but make up for it in intensity and vehemence. Its successor prolongs the hellacious suffering with its gore encrusted rampage of synapse flailing rhythms and flesh skewering riffing whilst the vocals drain its creator of every ounce of bile.

     Fuck In a Pesthole alternatively rages and stalks thoughts and emotions, drums an arsenal of severe bait and guitars an acid spewing rankling of the imagination. The track like the album arguably offers no real surprises but feeds genre needs with skill and sonic poison before passing the creative dagger to the excellent title track. Opening with a Saw like sample of individual punishment, the track slowly unwinds its murderous intent and incendiary guitar coaxing. Eventually the beast inside cannot be held back and the song turns into another tirade of blistering rhythmic cruelty matched by guitar spite and air depraving vocals. Providing greater enterprise and adventure to its longer stature, the song is a notable peak on the album even if leaving on an unsatisfying fade out.

     The pair of Malignant Pregnancy and Gastronomic Confession suffocates the senses all over again in their similar but distinctive inhumane guises whilst Brown Totem offloads a brawl of mentally spearing sonic atrocity off of a great cinematic keys sculpted intro. The third of the trio emerges over time as a strong moment, its breath finding a restrained but certain variation from the others and an almost gloating swagger to its sadistic incitement.

     Guinea Pig makes another impressive scar on the album, its virulent groove spawned riffing and gut wrenching vocals a magnetic slavery to the emotions within another rhythmic bombardment. Its impressive assault is matched by final track Morning Inferno, the song an equally harsh and destructive slice of savage enjoyment. They both provoke a richness of satisfaction to match and push further that of the album. It is a release which maybe does not go far enough to truly ignite the passions, its sound as expected from the band and comparable to the likes of Disgorge and Devourment, but undeniably it pleasingly delivers brutal death metal in its rawest exacting form. Private Judgement Day is not a classic encounter and has some issues with production of the drums, which at times just distract with the strong tinny snare sound, but it is nevertheless thoroughly enjoyable, in a masochistic kind of way.

http://www.abortedfetus.ru

7.5/10

RingMaster 18/02/2014

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Gutslit – Skewered in the Sewer

Gutslit photo

Like having your brain cells exposed to a carnally fuelled attack from a horde of carnivorous boars, Skewered in the Sewer impressively gnaws and tears the synapses with a forcibly impressive pestilence of brutal death grind. Unleashed by an intensive scourge going under the name of Gutslit, the debut album from the Mumbai, India quartet is a scintillating primal fury sculpted with technical excellence and passionate violence, not forgetting  packs of riffs and hooks which just infect the passions. Though the release is not offering anything strikingly new it is fair to say, with a mouthwatering craft and riveting enterprise to its triumph it easily stands out from the crowd and rigorously ignites the imagination.

Formed in 2007 and for the album consisting of original founder member and bassist Gurdip Singh Narang, vocalist Aditya Barve, drummer Aaron Pinto, and guitarist Dynell Bangera who has since left to be replaced by Prateek Rajagopal, Gutslit is poised to ignite an international appetite for their lethal sounds. Since forming certainly they have made a rich impression at home in what one assumes is a limited audience and just as potently further afield, the split release Contorted Mutilation with Pulmonary Fibrosis in 2009 alerting attention beyond their borders though without lighting any major fires. Skewered in the Sewer with luck and support should be the trigger to greater things and with its careering spite and insidious charm the album deserves all the attention it gets.

As mentioned the nine track release is not bursting with originality and at times easily sparks thoughts of bands such as Dying coverFetus, Disgorge, Goratory, and Devourment but it is never an issue as the refreshing and annihilatory voraciousness of the songwriting and savagery  unleashes its unrelenting skill and creativeness upon the senses. It is a gripping and thoroughly thrilling violation which mercilessly ravages the listener as soon as the opening intro, Prelude To Putrification sets the scene, the short piece a spoken demonic narrative over an atmospheric evocation. Pustulated Phallic Enthrallment emerges from a cyber-clad violation to seize the ears with a torrent of intensive riffing aligned to an exhaustive tempest of rhythms and bestial growls, the guttural spewing of Barve instantly magnetic with enough variation to lift the narrative without reducing any of his intimidation and primitive malevolence. Sonic invention and acidic grooves make varying degrees of intervention in the maelstrom, each additive igniting the track and passions which are opening their arms towards the exceptional track.

Offal Barter takes the throat in its vicious grip next, again riffs and rhythms a predatory summons for the imagination earning an easy submission before their carnivorous intent and rapaciousness. The production on the album is a big factor in the album’s success as much as the sounds, its willingness to give full clarity and space for the individual elements of the band and songs whilst accentuating the united tsunami of sonic pestilence and creative venom outstanding and on this fury of a track it allows hooks and melodic toxicity to charm and infect the imagination as potently as the violence which pillages the senses.

Both Circumcised With A Chainsaw and Atrophic Cranial Disintegration take things to another level. The first is a maelstrom of breath-taking energy and adventure veined with a technical manipulation and persuasion which stalks the senses with the same instinctive rabidity as the torrential force around them whilst the second track through a discharge of addictive grooves and crippling rhythmic invention leaves senses and brain wasted but blissful in subservience to the demanding provocation.  It sculpts bait and lingering contagion which is virulently exhilarating even when it drops to a crouch and slowly devours as it prowls around its victim. It is the best track on the album though constantly challenged by those before it with each play and the likes of the treacherously seductive Haemorrhoidal Brain Custard which follows with its consuming cascade of jagged riffery and a similarly ragged rhythmic excellence.

Pulp Face has body and emotions staggering under its intensive sonic malefaction, every instrument and member of the band bringing a transgression against sanity and emotional safety through a glorious sonic cyclone crafted in the finest detail to scavenge senses and synapses for the last vestige of refusal and defiance before the album’s noxious depths.  Its successor Maze Of Entrails is as equally an overwhelming scourge of invention and sound, the guitar design and mix of swinish and pit borne vocals leading the track’s grievous predation.  Though neither song can quite climb the heights of earlier tracks both leave a hunger and addiction for more of the sanguinary onslaught.

The album is completed by its sadistic title track, another wind of ferocity which scars and erodes the senses like an aural sandstorm haunted by a demon cast bedlam. It is the perfect ending to a hostile and inhumane assault which enthrals and inflames the passions. Skewered In The Sewer is a more than accomplished sonic malignancy which instantly thrusts Gutslit towards the fore of extreme metal. With a confirmed extensive European tour and slot on Obscene Extreme fest in 2014, this is a band all with an appetite for sadistic pleasures should pay attention to right now.

http://gutslit.bandcamp.com/

https://www.facebook.com/gutslit

9/10

RingMaster 17/12/2013

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Expurgate: Dementia Tremens

Expurgate band photo 01

    For all its corrosive and destructive intent and violation of the senses with its blistering assault of brutal death metal, Dementia Tremens, the debut album from Colorado annihilators Expurgate is lock n loaded with some of the most compelling grooves known to captivation. It is a nine track, barely twenty three minute, devouring of the ear brought with accomplished skill and primal intensity which is impossible to fight off as well as have plenty to recommend it for.

Formed in 2010, the quartet of vocalist Jaymes Grundmann, guitarist Fuckin’ Ian, bassist Devin Tauber, and Chris Van Cleave on drums, take influences from the likes of Anal Blast, Disconformity, Brujeria, Dysentery, Disgorge, and Gutrot to create a senses gnawing onslaught which though arguably does not offer anything markedly new undoubtedly leaves one satisfied and emotionally fried. Released on Comatose Records, their debut is a guttural ravishment which slams the body into a submissive position whilst being aurally consumed by effacing enterprise and merciless intensity.

As opener 86 rages against the ear with ravenous riffs whilst the rhythms declare war on bone, the intent of the album and band is an Expurgate - Dementia Tremens 5x5 300dpiopen declaration. The song is unrelenting in its vicious assault, the bass stirring up the passion with its steely countenance whilst the guitar unleashes riffs and sonic grooves which spark up the passions. Vocally Grundmann discharges his riveting guttural smothering to energise the track, his delivery like a pig succumbing to a bestial incursion riles up the intensity further whilst squeezing the lyrical content into a brutal unintelligible bleed.

Through the likes of Viscera Insufflation and Redemption Through Seppuku, the band rampages with unbridled aggression and a compulsive tightly grooved invention which is as instinctively anthemic to the emotions as it is exhausting and corruptive. Despite moments where words or passages vocally gain clarity the overall lyrical abrasion is swamped by the primal delivery of Grundmann to at times leave one unsure of the content and the purpose of having a premise to their driven violation of the ear. Of course the passion and songs unleashed answer that question as further tracks like the vehemently pungent 40oz. Facefuck, with its criminally intrusive ravishing, and the outstanding Repugnant Torso Defilement snarl and fury upon the senses whilst mordantly seducing them with further irresistible barbaric grooves.

The crippling beats of Cleave throughout the album lays a barbed cage around the listener whilst spearing them with pure violence and alongside the continually impressive bass scourge of Tauber, the combination is a devastating joy for the grooves and nasty riffs of Ian to scar and rip the synapses alongside.  Viscous Human Putrilage is one of the pinnacles of their infernal union and with the constant black vocal squalls, and a track which churns over the senses like a rabid juggernaut.

Ending on the twisting malevolence of Disgorging Vomitous Anomalies, the album is a fine and satisfying release which hopefully will trigger the band to a fully active service which apparently right now is not the case. Yes it possibly lacks enough originality to ignite the fullest fires but is easily a worthy addition to brutal death metal and one which fans of bands such as Devourment, Disgorge, and Dysentery especially will find plenty of sickness to admire and enjoy.

https://www.facebook.com/pages/Expurgate/160916813952730

7/10

RingMaster 12/02/2013

Copyright RingMaster: MyFreeCopyright

Nolentia: May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All

 760137001720_TOX017_Nolentia_photo

    Is it possible to enjoy an album like May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All when it is such an abrasive and destructive endurance to suffer? Quite simply yes though it took time to make its final persuasion though it might just be it wore down the defences and forced a submission. Either way by its completion the new album from French agiteurs Nolentia leaves one infernally violated but rewardingly spent.

Released through Kaotoxin Records, May the Hand… is a furnace of seventeen unbridled grindcore annihilations. Fusing a mix of grind, hardcore, doom, crust, and sonic blistering, Nolentia rip the senses into whining victims whilst simultaneously burning synapses with a venomous acid which eats away until only mental sushi is left.  As you can imagine the band which formed in 2007, is not an encounter which holds back on unleashing pain and a merciless form of intensity which permanently brands, but at times it is also a tempest with the most compelling and bewitching of grooves and imagination submerged within the full on abuse. From their first demo Sell Your Soul to Grind’n’Roll! of 2008, the band found themselves sharing stages with the likes of The Arson Project, Benighted, Dagoba, Disgorge, Imply In All, Inhume, Knut, Sylvester Staline, Textures, and more. The following year brought their debut album …One Loud Noise and It’s Gone, a release which put them on the horizon of a great many with its unpredictable squalling sounds. During the next years the Toulouse trio successfully left Brutal Grind Assault 2011 buckling under their storm with bands such as General Surgery, Maruta, and Wormrot, playing alongside bands like Atara, Exhumed, Magrudergrind, Mass Grave and Rotten Sound, and late last year the signing with Kaotoxin.

Their second album is an intense and dark monster which either invades and consumes with the predatory instinct of an exhausting 760137001720_TOX017_Nolentia_artwork_1400x1400_300malevolent swamp or just chews up and spits out the listener in a violent brawl of sonic outrage, often combining the two as with opener The Boiling Frog Principle a track which prowls with a malice which explodes into sheer nasty turbulence. As throughout the album, the bass in first song is a deliciously intimidating and bruising spoke in the wheel of sanity, its insidious breath as corrosive and threatening as the sonic discord fervour which slashes with sabre like accuracy on the ear elsewhere.

Songs like A Lament for the Road Kill and Xie Xie continue the pleasing unrelenting heavy ache in sound and effect with a varied yet uniformal sonic profanation, though they do not spark any lasting addiction to be honest. That is soon offered by the soon to revel highlights of the album starting with Too Far Gone, a song which actually recedes in its aggressive stance to unleash hypnotic rhythms and a strangely seductive melodic wooing within the persistent heavy grazing. The album as it progresses gets better and more appealing, its mid waypoint where the convincing is won in the favour of the release, brought on by tracks like the mighty caustic barracking of Wright. The song is a magnetic assault with twists in attack, pace, and invention to leave one equally intrigued and compelled as they are left smarting under its demanding assault.

Throughout the bass is a thrilling aggressor and in The Ticking of the Clock, a brutal hunger upon the ear which drives the destruction of the song deeper than ever. The dual vocals rip through flesh across every song on the album, their two levels of extremes a perfect ravishment against the equally devouring sounds and here they find their nastiest pinnacle. Gasoline and All About, the best track on the release, leave their own distinct sonic rape on the senses with the latter stealing top honours through its stalking gait and teasing sonic flamed groove which spears the thunderous ruptures which explode within the delicious inflexible grind.

May the Hand… is certainly not an album for everyone, as quite simply it is a release which either hurts or pleasures; for those who truly connect with its grindcore might though it satisfyingly does both. If the likes of Pig Destroyer, Brutal Truth, and Napalm Death hit a chord than Nolentia definitely needs an investigation, they convinced us…eventually.

http://www.facebook.com/NolentiaNoise

7/10

RingMaster 04/02/2013

Copyright RingMaster: MyFreeCopyright

Deadly Remains – Severing Humanity

Brutal and destructive with a technical violation as corruptive as its intensity, Severing Humanity is an impressive debut album from US death metal band Deadly Remains. It is an album which leaves one crumbling under its assault and at times hypnotised by its invention and intelligent enterprise for full satisfaction and to set an even greater promise for the band ahead.

Formed in 2006, the Santa Rosa quartet first drew a concentrated attention with their 2008 demo Moral Crusade. This gave them a platform to build a strong fan base through gigs around California. The following year saw the release of Before The Nothing and a marked progression in the skill and sound of the band. From that point the next few years offered the band shared stages with the likes of Napalm Death, Flesh Consumed, Sepsism, Colonize the Rotting, Septycal Gorge, Cerebral Incubation, Condemned, Embryonic Devourment, Putrid Pile, Arkaik, Pathology, Inherit Disease and Vulvectomy as well as a show supporting Pathology at the famous Whisky A Go Go. The band spent 2011 working on and recording Severing Humanity which is released through Deepsend Records and seem destined to explode into a much wider recognition with this aggressive and striking introduction to the world.

The foursome of vocalist and guitarist Ian Andrew, guitarist Josh Kerston, bassist Chris Dericco, and James Royston on drums, are a band going by Severing Humanity, which has no place for mercy in their vocabulary. The album from first note to the vicious last ruptures ear drums and violates the senses with a deep glee which soaks every sound. The album is oppressive at times, almost a punishment too far but brought with an accomplishment which is unmissable and invention which is compulsive. Admittedly a lot of the uniqueness and intelligent play is lying beneath the raging wall of noise which crushes all in its path but for the effort needed to reveal all the quality on offer the rewards are greater.

The album opens up its rage with Apocalyptic Birth and immediately floors the senses through the crisp and mighty rhythms of Royston and the incendiary guitar play of Andrew and Kerston. The riffs rip air and flesh asunder whilst the sonic flashes flay the ear with no regard for respect. The track bombards and bruises consistently leaving no time to blink let alone breathe and squeezes tighter and tighter with the onrushing consumption of intricate play and violence. Every aspect of the track is immense but the bass work of Dericco is stunning. As ultimately proven through all tracks the musician is a future legend in the making, his lines and sounds a constant snarling beast which gnaws and chews on the senses with intensity and technical aggression which leaves one smarting and drooling in pleasure.

From the tremendous start things only get better, the following Cosmic Necrosis is a track almost indescribable in its intensity and malicious ingenuity. From the opening bass rummage through the ear into the dehabilitating riffs and rhythms the track is like watching decomposition on fast forward. The sounds and intensity falls from the atmosphere like flesh from bone to pool in a torrent of raging malevolence. The searing guitar play which attacks after the onslaught has left its toll is a scarring pleasure to further open up the sores and all combined together makes a corruptive pleasure to immerse and drown within.

Lyrically who knows what is going on, the vocals of Andrew as ferocious as the sounds and just as rabid so no word finds clarity but it is their texture which is important and that is a valuable companion to the cyclonic force around them. Further songs like Instincts Of Flesh, Psalm Of Impurity, and the excellent closing title track,  continue the sheer turbulence around and within the listener, but every song on the release is powerfully satisfying and leaves one with great expectations for further efforts from the band.

There is a similarity across some of the album on the surface which only real focus disperses but it is not a major issue as that sound is so strong. Deadly Remains and Severing Humanity will delight fans of the likes of Gorguts, Disgorge and Suffocation but all death metal lovers will find plenty to feed upon and be excited by with the album.

https://www.facebook.com/DeadlyRemainsOfficial

RingMaster 06/08/2012

Copyright RingMaster: MyFreeCopyright

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