Entrails – Raging Death

Having been more than impressed by previous album The Tomb Awaits, the release of the third album Raging Death by Swedish death metallers Entrails was met with heightened anticipation. It was a hungry appetite which the band and album easily sated with its expanse of old school enterprise. As since day, the sound of the band is soaked in the seeds of Swedish death metal with influences coming from the likes of old Entombed, Dismember, Grave and more towards its caustic annihilatory persuasion and the new album is no different. Also like the previous release the album is not offering anything ground breaking but twisting existing malevolence into new tortuous exploits.

Formed in 1991, Entrail’s start did not bring the band to any real attention, failed attempts at making demos and line-ups changes leading the band to closing down as a project in 1994 until 2008, when band founder and guitarist Jimmy Lundqvist resurrected the band after finding some old Entrails recordings in a tape collection. This led to the band’s debut demo Reborn, a ten track release using original material from their early days brought to life with modern recording technology and fronted by the vocals of Jocke Svensson. Strong reviews fell upon the release and the following Human Decay demo, which again saw Lundqvist providing all the sounds and Svensson the vocals. After signing with German label FDA Rekotz in 2010, the band expanded with guitarist Mathias Nilsson joining the pair as Svensson moved to bass alongside his now permanent vocal duties. The same year saw acclaimed debut album Tales From The Morgue released and the addition of drummer Adde Mitroulis to the line-up as well as the quartet making their live debut again to strong responses. The Tomb Awaits in 2011 brought another elevation in the band’s status   placing the band before worldwide attention.

Raging Death is the first album with Metal Blade Records who the band signed with last year, ten songs of insidious carnivorous death metal steeped in its origins. The brewing initial breath of In Pieces is the first engagement with the ear, the sinister ambience and gentle breath of the piece a dawning challenge soon exploded into a rabid crawl of sludge intensity and rapacious riffs. Once into its eager stride the track chews on the senses with exhausting hunger and equally depleting energy whilst the rhythmic onslaught of the drums brings bone to dust. It is a compelling and thrilling confrontation with the excellent gut spewing tones of Svensson as impressive as remembered on earlier albums and the track itself a primal aggressor to devour willingly and greedily. There is just one moan and that is with the excellent searing guitar solo which is found within a hollow almost cavernous setting within the song. It is obviously intentional as no other aspect of the track follows suit into the restrictive arms place around it but it feels odd here and on other songs where it emerges, and depletes the strength of the musicianship.

The following Carved to the Bone builds upon and pushes  the strong start to the album, its incessant inciting riffs and sonic persuasion a less intense provocation compared to its predecessor but an equally impacting one, especially with its underlying groove, though again the guitar is unfortunately given that lone distant position in the mix when unleashing its fire.

Through both the brutal predator Bloodhammer and the malevolent Headless Dawn, Entrails continue to savage the senses with craft and enterprise especially in the second with a wonderful haunting melodic central taking of breath before the primal ferocity returns. They are an appetising and invigorating lead in to the strongest and most impressive part of the album where a pair of songs lays waste to the senses and passion with scintillating invention and aggression first hinted at by the closing climax of Headless Dawn.

     Cadaverous Stench immediately stomps over the grave of complacency and predictability, the track a swinging onslaught of contagious grooves and equally addictive riffs whilst both vocals and drums barrack the ear with spite and venomous belligerence. It is an irresistible sonic molestation of the senses with an equally compelling violation of the passions by uncomplicated death metal excellence supported by Descend to the Beyond, a song with a continually shifting gait and a heady mix of melodic and destructive extremes all brought with fire and passion.

The likes of Death League and Defleshed bring further thrilling ruinous and corrosive furies to bear whilst closing track The Cemetery Horrors is a final slab of reptilian filth coated irrepressible extreme metal to unleash further incendiary energy and passion with and to complete a fine and richly pleasing release. Raging Death is not going anywhere no one has ventured before whilst walking with sounds bred in the history of death metal but there is a temptation and hook to it which sets it as one of the more enjoyable and easy to return to genre releases over recent months.

https://www.facebook.com/Entrails666

8/10

RingMaster 14/05/2013

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Ulvedharr – Swords of Midgard

Constantly snarling at the ear, the debut album from Italian metallers Ulvedharr leaves a wealth of satisfaction in its wake as powerful and invigorated as the thrash/death metal fusion which inspires it. Charged with the blood of Vikings surging through its muscular insatiable veins, Swords of Midgard is an uncompromising and raw slab of brute force which ignites the rampage in all of us. Certainly the nine track release is not breaking into new battlefields of invention but it lays waste to those established with contagious confrontation ripe with captivating aggression.

Founded in February 2011, the Clusone band was initially intended as a solo project by vocalist/guitarist Ark Nattlig Ulv, but as songs were written he pulled in other musicians to bring them to life, Ulvedharr ultimately being completed by lead guitarist Fredreyk, bassist Klod, and drummer Mike Bald in line-up. Their first EP Viking Tid followed as well as a European tour with Blood Red Throne and Cattle Decapitation the next year, with the quartet expanding their growing recognition at home and further afield. The signing up with Moonlight Records for their impressive and antagonistic debut album has given them a platform build from which they have seized hungrily.

The album’s intro sets the scene, its sinews flexing as crisp bone splintering rhythms, a carnivorous bass growl, and prowling riffs badger the ear until tender and prime for the taking by the following Lindisfarne. The track instantly segregates the senses from safety with intensive riffing, exhausting energy, and a barrage of drum forged abuse which is skilled and hungry. Into its rapacious stride the band opens its muscular intent wide for the corrosive tones of Ark to scowl and bend the will of the listener with a brutal but compelling vocal delivery; imagined Viking facial hair and vindictive malice enclosing every brutalised and captivating syllable. The impressive start instantly brings thought s of bands such as Entombed, Blood Red Throne, Obituary, and UK’s Saqqara, its rampaging perfectly crafted assault as irresistible as it is knee buckling.

The following Odin Father Never Die and War is in the Eyes of Berserker continue the immense start with equalling ferocity and appeal, the first thrusting riff sculpted grooves in to the heart of the already fully brewed urgent appetite for the release whilst savaging the ear with further addiction drawing rhythmic abuse from Bald. His framing alongside the bass and guitar manipulation of primal bred notes and chords combines for a test which is uncomplicated but wholly effective. The second of the pair slips a delicious almost stoner seeded groove into the initial invitation, the chugging riffs stalking its presence before thrusting it aside for another tremendous thrash forged impressive slaughter. The unbridled attack now at large is not without mercy though and midway into the song it steps aside for a glorious sonic fire of melodic seduction from Fredreyk to recruit the last ounce of submission from the passions. As mentioned already there is nothing new on the loose here or across the album but as it feeds the ear for the umpteenth time whilst writing this piece, it is hard to offer any similarly gaited release as one which is as rewarding or exciting as Swords of Midgard.

Onward To Valhalla stands as the next pinnacle upon the release, arguably its finest moment, the anthemic lure of the chorus and its mass demanding harmonies a thrilling crescendo to a constantly building intensity carved by the persistent riffs, gravel expelling vocals, and as is the norm a rhythmic attack which leaves bruising with every bitch slap and barbed percussive swipe.

There is for personal tastes a slight lull to the might and stance of the album across both Beowulf & Grendel (Part I) and Ymir Song, and though neither track lacks quality or skilled persuasion, they do not light the fires inside as dramatically as their predecessors. The first of the pair features a guest appearance from Lorenzo Marchesi (Folkestone) and is riddled with infectious grooves and melodic beckoning within the skeleton of steel forged rhythms and greedy riffing whilst the second brings a more melodic tenderness to its still eye to eye metal encounter and compelling drive, with the glorious vocals of Lisy Stefanoni (Evenoire) bringing a rich potency to the climax of the song alongside the folk metal march and the scarring scowls of Ark. As stated both tracks are strong and more than decent but sandwiched between what came before and their successor the excellent The Raven’s Flag, they lack a dramatic punch.

The Raven’s Flag gnaws on the bones of the listener, its anthem enriched breath and provocative confrontation joined by a blistering drum testing and a rabid fury of persistent riffing. The band equally seduce with the melodic and sonic fascination which veins the barbarous encounter whilst its closing run through to the finale of the album is wonderfully barbaric tenderising the listener for the sneering riff fest of Harald Harfagri, a track leaving a final uproar with its outstanding group vocals, with those of Ark singularly at their most diverse and impressive, and an unrelenting chewing of the senses.

Swords of Midgard may not bring new realms to conquer but is one familiar battle which could not be more enjoyable and rewarding.

https://www.facebook.com/Ulvedharr

9/10

RingMaster 11/05/2013

 

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XIII – Helltongue

Since forming in the early 2000′s, Finnish metallers XIII have earned a potent reputation through their live appearances which has seen them sharing stages with the likes of Entombed and The Crown at festivals like Finland’s own Steelfest Festival. Their appearance in 2011 drew powerful responses and acclaim but until now the band has not had any physical releases to tempt the passions. They certainly have made up for it with the release of their debut album Helltongue, a release which suggests the Helsinki based quartet has been saving up and brewing their intensity and sculpted aggression for the event, as across the thirteen track album it is rife and carnivorous with tsunami intensity.

Formed by vocalist/guitarist Kristian Juuso and drummer Petteri Lammassaari, the band conjures up ferocity in their adrenaline driven sound which is breath-taking but it also comes with a wealth of grooves and melodically toned enterprise which ensures the release has more to offer than just unrelenting and unsurprising onslaughts upon the senses. Like a tempest of Pantera, Slayer, and Devildriver, to go for the obvious, the record and band do not complicate things by trying to create new dimensions or boundaries with their place in metal but simply they are intent on igniting the rawest most ear crushing pleasure possible, something which with Helltongue they have mastered triumphantly.

The album is a real treat of aggressive confrontation and incendiary passion rising joy, it may not be overtly original but easily right up there with the most enjoyable and inciting furies over past months. Once the intro has built up the atmosphere with deceptive lures as to what really is to come, its melodic tease more akin to a power or symphonic  metal encounter, Phantom Pain from a crisp cymbal wave accosts the ear with predatory riffs and equally violent rhythms, the bass especially bestial and deliciously intimidating. The vocals of Juuso growl and prowl the song with bear like qualities whilst the distant additional squalls add further caustic rub upon the already scarred flesh buckling under the intensity and weight of the guitars and drums. It is a carnally toned embrace which devours the senses before handing them over to a mutual corrosive conspirator in The Circle of Snakes. Again the guitars of Juuso and Jari Härkönen enslave the passions with unbridled and uncomplicated persistent provocation whilst Lammassaari and the bass of Simo Partanen crack and snarl with venomous urgency and force.  Like the first the song is short with a punch to ground a rhino, a feature of the album though some songs make a longer but no less intensive proposition, and within all onslaughts no atom, synapse, or thought is left unbreached.

    The Last Messiah brings more of the same though stands alone in individuality from the previous pair, it’s slightly slower ravaging seemingly more calculated in its destructive contagion whilst the bass leers from within the storm with noticeable enterprise and spiteful clarity. Another easy to be infected by with the catchy groove to sound and swing of the vocal delivery, it continues the immense if samey start in style. Next up Gemini steps forward to stretch things and break–up expectations, its longer groove cored presence veined by sizzling sonic enterprise and shifting textures. It is still an insatiable rage upon the body but the first to beguile and seduce with what now becomes a regular weapon, variation.

The stalking pace of Dark Utopia consumes the ear next it’s restrained but still eager charge sharing centre stage with scintillating melodic strikes and a cleaner twist to the vocals, the growl still in place but evolving throughout to offer absorbing diversity in that aspect too. The song is an intimidating charmer and at this point the brewing ardour for the release switches to a building rapture which after only a couple more encounters was raging as intensely as the album itself. The outstanding and glorious The Valley of Death with its sirenesque intro and heavy beckoning shadows is an irrepressible temptation whilst the likes of the bloodthirsty Iconoclast, the gently enthralling Post Scriptum with its startling and magnetic smouldering start complete with rich clean vocals before more bestial persuasion, and the creeping weight of Demon Avenue, all press creatively and heavily with virulent effect to spark greater hunger in return.

The final duo of tracks The Ghost and Deathgrip are just waiting carnage givers, both merciless savagery but both again offering more than just violent conflicts. On the surface both have a closely crafted presence but deviate into their own open stances for a lasting thrilling finale of argumentative intensity. Released via Inverse Records Helltongue is outstanding, hopefully XIII will not take another decade or so to bruise and rouse our passions.

https://www.facebook.com/pages/XIII/168959203244834

9/10

RingMaster 19/04/2013

Copyright RingMaster: MyFreeCopyright

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Ulcer: Grant us Death

    Grant us Death from Polish death metallers Ulcer is a release which does not really ignite any fires of passion for its admittedly accomplished and impressively crafted musical animosity but it is still a release you can happily and want to come back to time and time again. Enriched in the depths of old school Swedish death metal, the album is a nasty violent cacophony of exhausting and malicious intensity engineered through raptorial riffs and blood thirsty rhythms for a more than pleasing confrontation.

Formed in 2006 by guitarist Lucass as initially a solo project for himself, the band soon grew with the addition of vocalist D.ssipline, guitarist Mścisław, and bassist Kuba. Two demos A Property of God? in 2006 and Slitwrist Society the following year were recorded though never released, each just spread amongst fans. As Kuba left the band second vocalist Angelfuck joined up and debut album Serpent Trinity was recorded in the summer of 2007, though again it was not released, just passed around like the previous  demos. A period of quiet and ‘inactivity’ followed before the band re-emerged in 2011 with drummer Vizun and bassist Kamil added to the ranks.  With a change in musical direction and new material primed to be unleashed, the band which features present and past members from Deivos, Blaze Of Perdition, Squash Bowels, and Azarath, signed with Pulverised Records, Grant Us Death their first voracious full assault upon the world.

The title track emerges from a melodic invitation within a foreboding ambience which gives no real essence of the decayed inferno to come. It is a ravenous assault with caustic vocals complimented by group shouts bristling upon uncompromising rhythms and a gnarly intent and sound from bass and intimidating guitar riffs. It does not exactly trigger mass euphoria but the track leaves one bursting with eagerness to delve deeper in to the album whilst basking in the already impressive corrosive malevolence on offer.

The strong start is elevated by the following Devilspeed, the start of a trend as the following Bloodpainted Salvation and The Love Song each take the album to ascending plateaus. The first of the trio is an adrenaline charged surge of rampant riffs and demanding rhythms crossed with malice soaked vocal squalls. Like the majority of the album the intensity created by guitars and bass saw across and ravage the ear with little relief or mercy but still leave one enthralled and eager for more of their violating presence. Bloodpainted Salvation pins the listener to the floor by the ear and savages the senses with further annihilatory intent and skilfully sculpted violence whilst the last of the trio is an inspiring furnace of rabid intensity and predatory synapse bruising sonic barbarity infused with a magnetic melodic teasing which takes the track impressively away from the pack.

From here as good as the likes of Godcremation, Devialize, and My Lord Has Horns are, the album fails to find the same heights again but nevertheless leaves a full satisfaction for the senses to devour with the inventive and accomplished sounds displayed to ensure the release is a formidable and appetising proposition again and again.

The closing track When Horror Comes brings a different flavour to the album and does give the album a heightened departure. Its mix of blackened death metal and almost gothic metal like vocal mesmerism captivates the imagination from start to finish, the constant harshly grizzled riffs and energy stretched and embellished with potent shadows and rich sonic flames to leave intrigue and a sustained appetite to follow the creative exploits of the band as they evolve further.

With an exclusive macabre painting by Bartek Kurzok (Abigail, Demonic Slaughter, Goat Tyrant) for its artwork, Grant Us Death is an album deserving of attention and a release fans of bands such as  Entombed, Nihilist, and Autopsy will find plenty of maybe not original but well-crafted and passionate sounds within.

www.facebook.com/Ulcerdeathmetal

7/10

RingMaster 21/02/2013

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Deus Otiosus: Godless

With the world wide release of their debut album Murderer last year, Danish death metallers Deus Otiosus left one of the biggest impressions and most rewarding confrontations of 2011, their old school inspired yet strikingly inventive sounds firing up the passions whilst marking the band as one of the most refreshing and promising emerging forces within extreme metal. The quintet from Copenhagen now returns with second album Godless, a release which actually puts its impressive predecessor in the shade whilst revealing the band as an even mightier and creative proposition. The new album is a colossal beast of imagination and aggressive engagement, a record bulging with incendiary sonics and melodic enterprise alongside thunderous riffs and debilitating grooves.

Started by vocalist Anders Bo Rasmussen and guitarist Henrik Engkjær in 2005, Deus Otiosus grabbed positive attention with their 2007 demo Death Lives Again and a split release with Hideous Invasion two years later, but it was with the release of Murderer in South America in 2010 and especially its world release via FDA Rekotz the next year, that the band ignited an intense positivity and acclaim towards their uncompromising aural attack. Godless takes everything to a new level, the songwriting, imaginative enterprise, and the intrusive thrilling sounds. Out through Deepsend Records, the album unleashes eight brutal tracks which numb and invigorate which equal success. Themed by the premise of the world devoid of gods or presences to guide the human race thus leaving it ‘to fend for itself like feral children’, the album is a crashing expanse of old school death metal skewered with veins of thrash and black metal and loud melodic whispers.

As soon as the opener Snakes of the Low thunders in with merciless rhythms, driving riffs, and an acute twisting groove, there is an immediate sense of the growth from previous releases, the immense start that strong and impactful. The guitars of Henrik Engkjær and Peter Engkjær rage with a furnace of sonic manipulations and bone crushing intensity whilst bassist Jesper Holst roams with a rabid hunger to his lines. The staggering onslaught leaves one breathless with the drums of new drummer Jesper Olsen leading the assault with unbridled energy and stunning craft. The result is a contagion which swamps the senses and ignites the passions whilst with the inciting heavy guttural tones of Rasmussen leaves thoughts open to the darkest shadows.

Off to a towering start the album steps up another level with the excellent In Harm’s Way. Starting with a catchy tease of drums the track strolls with an incessant breath of anthemic unity and pulsating resonating energy. Riffs and rhythms hold a constant urgent charge whilst the vocals snarl at the ear with a malevolent hunger whilst the sonic scorching lights up the song with caustic flames of invention. It is an insatiable riot setting up a strong and pleasing contrast to its successor, the doom clad prowling beast New Dawn.  Oppressive with an intensity which looms over the senses without quite devouring them, the track crowds the ear with its weighty presence to allow its restrained but ever shifting twists of ideas to open a stream of great satisfaction.

Throughout Godless is unrelenting in offering irresistible invention and fiery imagination, further tracks such as the astringent and ravenous Pest Grave as well as Cast From Heaven with its burning abrasive consumption of the synapses and the openly infectious Face The Enemy leaving awe struck ardour and unbridled enthusiasm in their wake. The latter of the three is a maelstrom of multi-faceted sounds and invention which flow and tease as if borne from the same original seed of inspiration.

Closing on the delicious irreverent waltz of Death Dance, an apocalyptic beauty in sound and atmosphere, the album is just outstanding and a release which easily rivals the best extreme genre releases this year. If bands like Obituary, Autopsy, Entombed, and Sepultura raise your temperature, than Deus Otiosus and Godless will break you out in an eager sweat.

http://www.deus-otiosus.com

RingMaster 19/11/2012

Copyright RingMaster: MyFreeCopyright

Nominon: The Cleansing

Released though Deathgasm Records, The Cleansing is the highly anticipated new album from old school Swedish death metallers Nominon. It is a release which will easily satisfy and thrill all those waiting blackened malevolent hearts. Dripping venom and malicious enterprise, the album is soaked in the essences of the likes of early Morbid Angel, Dismember, and Entombed, but distils its own festering breath and black heart to stand as a release which offers something fresh and invigorating. No genre boundaries are worried or stretched it is fair to say but with something this devastating yet inspiring who gives a rotting corpse.

Since forming in 1993, the band has forged a heady and mighty onslaught of creative sounds in their perpetual corruption which has garnered strong acclaim and followings. From their Promo 1997 demo through the likes of debut album Diabolical Bloodshed of 1999, Recremation in 2005, and Monumentomb of 2010, to pick just a few of their releases, the band have built a mighty reputation and stature. The years saw difficulties for the band but with 2004 said to be the moment things truly changed and rose up for Nominon, the band raised their stock further with their releases alongside impressive festival performances and tours. Following two splits earlier this year with Kommandant and Graveyard, The Cleansing is unleashed to stand as one of the mightiest old school inspired releases this year.

Starting with the atmospheric intro Satanical Incubation, the title fully encapsulating the crumbling and sinister ambience within, the album explodes with bile grafted enterprise through In The Name Of Gomorrah. Driven by the striking rhythms of drummer Perra Karlsson and the guttural demonstrations of vocalist Henke Skoog, the track tramples through the ear with heavy intent and crippling intensity. The underlying groove beneath the scything riffs from the guitars of AntiChristian and Alex Lyrbo is compelling and alleviates some of the intrusive erosion which is permanently at work, though it too is drenched in the intent to ravage the senses and extinguish any remaining light.

It is a formidable start which is built upon impressively by the following likes of Mausoleum and Unholy Sacrifice. Both tracks consume the ear in a fury of bestial power and unbridled malevolence. The first is nothing less than a bruising entrapment of crushing rhythms and spiteful sonics alongside destructive riffs whilst the second exchanges a full on assault with rabid tenacity from the guitars and even blacker merciless poison from vocals and rhythms. The bass of Juha Sulasalmi stalks knowing it already owns your soul adding a further debilitating urgency and strength to an already corrosive presence. Alongside its successor the track is one of the highest peaks in many towering pinnacles within the album.

The title track is the other unmatched triumph. It is an instrumental furnace of rasping sonic energies, dizzying twists, and grinding enterprise from the guitars. Unrelenting from its first caustic expulsion to last, the track just leaves breathless disorientated wreckage in its scorched earth.

Abhorrent Parasites and Hellwitch both abuse the wounds caused from the previous encounters on the album with merciless intensity and insatiable fury from all departments, whilst the likes of Obliteration and Son Of Doom condemn the senses and thoughts to perpetual darkness and diminished hope. Like the album they are spiteful fires of vehemence and unforgiving attitudes within a ferocious intensity veined by imaginative and skilled intrigue which are nothing less than contagious.

With the vinyl version of the album also having the track Slaughter the Imposter exclusive to its body, The Cleansing is a deeply satisfying release which should have all death metal fans shouting from their rooftops.

www.nominon.com

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Three Hour Ceasefire: Cry Havoc

Inspired by death and thrash metal from the late eighties and early nineties, Irish metalers Three Hour Ceasefire have fused those sounds into an impressive powerful entity of their own as proven with their debut EP Cry Havoc. The release does not venture into the creation of new and rigorous realms to play within but instead has revitalised and stretched existing and influential essences with their own invention into a thoroughly compelling and exciting outcome.

Formed in 2008, the quartet from Limerick has emerged through line-up changes to become one of the more formidable and promising bands in the Irish metal scene. They have been compared to a mix of Sepultura and Entombed, something which is as accurate a description as any, though there is a distinctive breath permeating the sound which sets the band apart. Arguably the band do not stand aside of others as widely as one feels they are destined to as they evolve further, but within the at times familiar feel there is a fresh and pulsating heart of invention emerging.

As the six tracks within Cry Havoc rampage upon the senses there is a strength and defiance to the sound and intensity which reflects and comes from, as their bio states, seeing and being directly affected by the decline of the industrial and building trade across not only Ireland but their hometown. The release, through Savour Your Scene Records, is definitely a confrontational and provocative slice of fury and one which enflames the senses from first track to last.

The EP is opened by the spiralling spite of Time Of The Empty Throne, a song which soaks the ear with malevolence like an insatiable tempest. Its energy is a slow invading storm which corrupts each and every pore whilst being speared by sharp guitar play and riotous riffs. Its heart is unrelenting, an insistent burrowing sonic presence providing a malicious canvas for the guttural expulsions and destructive rhythms. More than a mere intro it effectively does draw one into the eye of the storm, the following excellence of Behold, Rejoice.

The track is a rolling thunder of inciteful riffs and barracking rhythms enclosed in a heavy oppressive intensity. The song twists within its umbrella weight to keep the senses unsettled but deeply occupied whilst the melodic grind and shadowed flourishes capture the imagination unerringly.

As the next track Trial Of Wounds continues the eager and irresistible blackened contamination the one and only criticism towards the release is taking shape. The track itself is another shifting animal of unpredictable ideas and striking imagination, a song which does not quite leave one open mouthed with originality but ignites every spark within for a satisfied raging fire. As it departs after another mere two minutes that one thing which inspires a moan is wild, the tracks are so damn short. Normally not something which bothers but the pleasure given by the songs makes it a real disappointment when their final notes scarper so soon.

When Prophecy Fails is a song which does stay much longer within the ear but actually does not have the same deep infection as found in the other songs, though the length has no bearing. It is a strong and combative track with vision and expertise rife within its heavy walls, the guitars alternately a melodic stroke and caustic rub whilst again vocally the ear is given an abrasive dose of raw throat expulsions, but it does not manage to trigger anything more than good appreciation.

The remaining tracks Trench Knife and Fall Under Foot return to the high grade quality, the first and best track on the Cry Havoc, a festering bruise full of aural colour and sonic addiction. The thrash air of the band is present in every song but is unleashed for a full throated rage across this and the closer. The track bleeds into Fall Under Foot to allow no time to take a breath before the final rampage of creative violence and annihilatory abuse wages invention upon the ear. It is a masterful and thrilling end to an equally impressive debut and sets Three Hour Ceasefire up as one of the bands to watch very closely.

Though one cannot say Cry Havoc is the best debut to emerge this year it certainly is one of the most promising and pleasing, and gives evidence that Three Hour Ceasefire has the armoury to become a very important band for metal.

http://www.threehourceasefire.net/

RingMaster 27/08/2012

Copyright RingMaster: MyFreeCopyright

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Grenouer: Computer Crime

When a band appear out of nowhere with a sound and release that makes one stop and pour full attention on its fresh and stirring body it simply lifts and re-energises the enthusiasm to continually search and listen to each and every new band that comes into view. Russians Grenouer is such a band though they are not really as such only fresh to these ears. The band itself has been a force in their country for many years but have yet to obviously make a truly striking mark outside of their homeland borders. With their excellent new mini album Computer Crime released via UK label Copro Records, they could turn the current interest from the rest of Europe into a much more powerful energy towards them.

Formed in 1992 the history of the band seems to be one of continual change or evolution going by their bio, not only in people but sound, and not a slight change either. Initially the St. Petersburg band was an underground/death metal band and with a sound which found a definition and maturity by the time of their debut album Border of Misty Times in 1996. Three more albums followed in the shape of Gravehead, The Order O’Folly and Presence with War between 1999 and 2003 to establish the band with fans and the underground media.

2006 saw the release of Try and a new sound for the band as they moved from within their death metal sound into a more experimental sound combined with industrial and polyrhythmic invention. The album took them to the attention of the likes of Hard Rock, Rock Sound and Metal Hammer and into a full album release with Casket Music. Next came Lifelong Days in 2008 through Locomotive Records and a busy time of festival and touring to share stages with bands such as Anathema, Cradle Of Filth, Soilwork, Pro Pain, Neurosis, Entombed, Tiamat, Testament, Textures, and Tesseract. Another rethinking of direction and sound emerged from this point with the discussions and differing opinions causing the band to go through a line-up change as it split in half. Vocalist Andrey Ind and guitarist Alexander Motor brought in second guitarist Igor Arbue and drummer Michael Coroner to replace the departed members of Grenouer, and worked on new songs to add to three recorded before the split. The new hard rock and post grunge lined sound took inspiration from the likes of Alice In Chains, Filter, Stone Temple Pilots and Soundgarden. With a quintet of tracks renewed, produced and mixed at ‘Astia’ Studio in Finland with Anssi Kippo, who played bass and keys on the songs, and Jonas Kooto, the band created Computer Crime.

The release opens with Last Stop, a track which immediately announces its arrival with muscular riffs, intimidating rhythms and a predatory prowl around the ear. Sharp melodies cut through the intensity with a sure and satisfying craft whilst the growling intensity of the song is never far away, eager and ready to pounce from behind the inventive play and strong smooth vocals of Ind. The song offers up a mix of Gruntruck, Prong, and The Sun Explodes with more than a Meshuggah flavour to the rhythms and riffs.

The following Rejected is an equally impressive and welcome invasion of the ear, placing its creative melodic enterprise and blood pumping darkened energy upon the senses with craft. The bass of Kippo is a brooding stalking beast which adds a glorious sturdy and threatening vein to the openly appealing song.

One highlight of a very impressive album is See No Sun. Opening on an emotive atmospheric melodic weave with an ethnic lining the song entrances and entices immediately. It reminds of Motherjane as it sways and lights up the emotions, the controlled and passion fuelled path a compulsive and touching experience. Then the track unleashes a surprising inner blackness in an intense and venomous expulsion mid way in before returning to the captivating grace before.

The powerful and equal best track on Computer Crimes is Fix Your Life and with Golden Years completes the release. The first is a blend of towering riffs and spiky melodic intrusions whilst the latter a warm and vibrant track which without the harder edge of the other songs is still as rewarding and an infectious song that soon has one involved.

    Grenouer maybe new to a great many but with Computer Crimes that is sure to change, and the recommendation is to just go find it before it finds you.

http://www.facebook.com/#!/pages/Grenouer/89279191818

RingMaster 01/04/2012

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Massive Assault – Death Strike

Death Strike the new album from Dutch death metal band Massive Assault is a bulging belligerent brute which does what it says on the tin, well as the band name suggests for sure. Through ten cantankerous bruisings called tracks the release thunders and bludgeons to great and eager effect. The admittedly album does not explore brand new avenues but instead draws a deep  energy and colossal sized sounds from the well of old school Swedish death metal linking it to veins of thrash, hardcore and seeping drops of punk. As a result Death Strike is a tanker of formidable fully charged metal that gets the job done to a fruitful and pleasing satisfaction.

Since their formation in the early part of the last decade Massive Assault has left lingering marks through early demos, their debut EP Conflict , their first album Dystopian Prophecies, and the Slayer EP of last year. They are a band that leaves one breathless even if unsurprised with each release, their sounds driven by a familiar flavour and direction but with a feel and energy that leaves many other similar spiced bands choking in their dust. Their second album released through FDA Rekotz, a label that impresses with each release they share to the world, sees the quartet again assault the senses with their expected and thrilling sound though with a possibly leaner and tighter craft to their compulsive creations. If the likes of Dismember and Entombed rile up your juices than Death Strike is an album for you, a release deeply footed in the pits of Swedish death metal but with more than enough freshly cultivated additives to offer not necessarily something markedly new but music that churns up your senses and hikes up the pleasure.

Opening track Drive towards Death sets out the intent of the album from the first note. Destructive riffs flying from every angle whilst a teasing groove from guitarist Fredde Kaddeth spears through the ear with mesmeric appeal so that within moments the song an essential treat. Alongside these delicious infectious manipulations the bass of Jozze lays darkened ominous muscular tones whilst the rhythms and beats of drummer Gideon strike with the precision of the keenest artillery.  It brings nothing remarkably original forward but the track is a wonderful irresistible partner in crime, a metal song that hits all the right spots.

The consistency across the album is high though some of that is down to the songwriting not worrying too much about being openly varied from song to song. That is not a big issue as the core sound and creativity is distinctly and strongly enjoyable and Massive Assault do add noticeable flavours to songs to stop them being simply reorganised clones, the likes of Plead Not Guilty full of punk infused energy and the excellent Pride adding a heavy metallic coating to its intensity.

Throughout vocalist Carl Christ spews out the lyrics with a delivery as caustic and venomous as the war born themes of the song, his unvaried delivery a vibrant stinging compliment to the combative sounds around him. Often lack of variety in vocals across a release is a negative but here it works perfectly, his inflections and the pacing of his grizzled assault controlled and intelligent.

As Death Strike sends its tracks relentlessly onward some songs leave a deeper enjoyable scar. Finished Sympathy tramples through the ear with a steady and even pace, its heavy weight consumption impressive as it crushes bone and sinew under foot. With rhythms using the senses like a punch ball the track leaves a gasping husk in its wake, an open victim for the following chug fest of Turning Tides. The slow stalk opening of the song prowls and glares, the muscles of the song flexing through swarming oppressive riffs and drums sure of their dominance. Eventually erupting into a gallop of thumping solid guitars and rhythms the track stomps all in sight whilst a brief but enlightened solo alleviates the pressure for a brief yet inspired moment.

Death Strike has no pretensions to be what it is not, the release simply a powerful and completely enjoyable unrestrained companion to share mayhem with. Massive Assault does not open new doors but they certainly make the room they command a very thrilling place to be in.

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RingMaster 30/03/2012

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Revel In Flesh: Deathevokation

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

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

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

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

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

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

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

http://www.facebook.com/pages/Revel-in-Flesh/304228902958414

RingMaster 21/03/2012

REVEL IN FLESH – Iron Coffin

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