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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Bovine – The Sun Never Sets On The British Empire

Brawling, squalling, and impossibly contagious, The Sun Never Sets On The British Empire is an album which charms and harms the senses for easily one of the most thrilling and exciting albums this year. Its sculptors are UK rockers Bovine, a band who has set another bench mark within the realm of exhausting sludge, rapacious heavy rock, and predatory progressive metal alchemy. Released via FDA Rekotz, their new album is a scintillating and threatening tempest of insatiable invention and primal aggression fused into an even greater storm of muscular sounds and equally imposing intensity brought with a sonic persuasion as addictive as it is viciously imaginative.

Tapping up the keen essences of the likes of Mastodon, Kyuss, Black Tusk, and Soundgarden and twisting them into veining for their own startling invention, Bovine has created a brute of an album which is forever evolving and turning on the senses for an unpredictable and compellingly enthralling confrontation. With melodies and barbed hooks as lethal and addictive as the primal rhythms and carnivorous riffing, The Sun Never Sets On The British Empire is nothing less than an album of the year contender.

From the short opening ambient instrumental Barium, there is little warning of what is to follow, its dawning haunting atmosphere a portent of something sinister yet undefined. What does step from its chilled shadows is the rapacious assault Ghost Chair, a track bruising the ear within a short breath of time with crippling rhythms from drummer Damon Cox and the scything and searing guitars of Marcus VVulfgang and Thomas Peckett. Within their encounter on the senses the bass of Christophe Schaunig prowls and leers with pure intimidation whilst the vocals of VVulfgang roar and soar across the attack with a clean but snarling might. Across its blistering presence the shifts in pace and energy are demanding with equally rich rewards, the greed of the guitars and drums insatiable as is their inventive rage whilst all the while that bass stalks and hounds with a resonating beauty.

From the staggering start things only crave and succeed in grabbing a bigger slice of the passions firstly with Thank Fuck I Aint You and then Heroes Are What. The first of the pair is a blaze of towering rhythmic persuasion and burning sonic voraciousness with an urgency to brand the senses with scorching melodic mastery and crushing riffs bound in a ravenous expulsion of bone splintering rhythms and gluttonous intensity. The track devours the ear and beyond, finding an absence of resistance for its appetite in return. The second of the pair takes all that came before and stops it in its tracks, the acoustically led emotive caress with equally expressive vocals a smouldering invitation. This is just its opening gambit though and a minute into its journey the song unleashes another tirade of malevolent rhythmic bombardment from Cox and a furnace of caustic sonic fire. Like the previous songs the stoner/sludge like components are an open vein yet the pulverising onslaught of every atom of the track is an intensely textured maelstrom of diverse and  riveting sounds, peel them away layer by layer and the eclectic and resourceful invention in place is as riveting and impressive as the overall results.

The title track emerges with Cox and Schaunig in control, the metronomic demanding of the drums courted by the bestial throaty grizzle of the bass. A shimmering heat soon is expelled by the guitars to offer a sultry caress to the commanding core, the union leading into a fuller flame of irresistible brilliance. Arguably with a recognisable yet impossible to define breath to its voice, the track is a grunge lilted crawl over the ear with climatic crescendos of seismic intensity and another major highlight on the release which hands over to a fellow conspirator in securing long-term ardour. The Battle Of The Sinkhole is a sensational carnal consumption with an invidious swagger to its debilitating corrosive attack. Again there is something familiar at work but mere intrigue to the enormous rage of malicious beauty at play. As with all tracks the progressive persuasion ensures its voice is heard to bring further mesmeric temptation to the infernal intrusion, and as the song offers its full abrasion things really can get no better.

Of course the likes of I Will Make You Real and Military Wife disagree, both songs making their own distinct and voracious declaration. Across the whole of the album the variety and diversity of sound and imagination is as enrapturing as the sounds and this pair is no different, the first seducing thoughts and passions with a twisting spiral of sonic grooves and scarring riffs with the drums beating a submission out of the listener with jolting invention which borders on emotional and physical affray whilst the second opens up its stoner cauldron for a breath taking excursion through fervent sonic and melodic passional ferocity.

As the equally stunning Not Another Name brings the aural convulsion of invention and bewitching imagination to a close with arguably its finest moment, though admittedly that choice changes constantly, The Sun Never Sets On The British Empire is a release you cannot escape from and the temptation to re-enter its torrents of delicious abuse impossible to refuse. If there has been a better senses battering passion feeding album this year so far we missed it but doubt that there will be many this year which will rival Bovine’s exceptional release.

http://www.facebook.com/bovinemusic

10/10

RingMaster 13/04/2013

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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

Deserted Fear – My Empire

Easily one of the more impressive debuts to turn up this year, My Empire from German death metalers Deserted Fear easily sets the band up as one to watch closely over the years ahead. Finding their influences and inspiration in the early nineties scene the band amass classic American and Scandinavian death metal into a warring corruption upon the senses. It does not break down boundaries or forge new avenues but as an accomplished and well structured use of existing armories of sound it is impressive and imaginative.

From Eisenberg/Thuringia, the band formed in 2008 and from the release of their first demo two years later, and first live shows, took no time in building a loyal fan base. At the end of last year the band decided to record their debut album and approached Dan Swanö who subsequently mixed and mastered My Empire at Unisound Studio. The band then reached an agreement with FDA Rekotz for the release of the album, an unleashing which should thrust the band into the view of a welcoming worldwide audience. The album certainly deserves full exposure, its thunderous and intense sounds leaving only satisfaction and intrigue for more ahead behind them.

There have been a fury of bands to appear over recent months and years to pull on the past with varying success, those seeding days still inspiring a wealth of new hearts, but what sets Deserted Fear apart is they never tread predictable roads. Yes as mentioned there are not ground breaking but each one of their songs develops an individual character amongst themselves and to their contemporaries, each pulsating with inventive guitar play, keenly crafted and compulsive enterprise, and most of all quite simply impressive ideas and musicianship. Not one song offers a familiarity to another and all captivate with their precise and thoughtful soundscapes.

The album opens with Intro, a minute long premise setting with daunting foreboding ambience and dawning intimidating atmospheres, the first breath of the battle or confrontation ahead. So many bands now use this device to open up their releases that it is rare anything is particularly new or surprising, the same here, but there is something thrilling to that sense of impending danger, though many bands then fail to live up to the promise, not something you can accuse Deserted Fear of.

The Battalion Of Insanities marches, or rather stomps with a stormy mass through the ear, its riling riffs a forceful scurry as the beats of drummer Simon Mengs jab and punch with sharp and unbridled aggression. As the track leaves its caustic brawl over the senses vocalist Manuel Glatter scours the depths of his venom to growl with deep caustic effect. His delivery though is not overpowering and as with everything on the album, it is blended perfectly into the sonic tempest, as are his and Fabian Hildebrandt’s sparking guitar/bass strikes. The touch of Swanö is so evident and shows any aspiring band they can do little wrong by waiting and trying to fund a recording with someone who understands and knows how to expand their music.

The following Pestilential rages like a bush fire, its energy crackling under the thrash driven riffs and tightly wound melodic veins, the riffs drilling their way deeper as the song progresses to bring a total captivation by its final slap around the ear. It is a step on from the impressive start, and the first to fluctuate within many levels, all impressive and heady.

Tracks like the bruising Nocturnal Frags and the barbed Morbid Infection with its corrosive aural scowl, test and tease through their coarse yet magnetic sonic breath whilst the likes of persistently grazing Scene of Crime and the ravenous Field of Death, a track soaked in malevolence and insidious melodic intrusions, take the contagion to its richest potency, the last especially a remarkable and wholly infectious poison to devour greedily.

There is no real weakness on My Empire, the title track and final song Bury Your Dead as formidable and pleasingly imposing as anything else on the release. For all who have a passion for the likes of Immolation, Dismember etc, Deserted Fear will easily excite their ears and more.

http://www.desertedfear.de/

RingMaster 01/10/2012

Copyright RingMaster: MyFreeCopyright

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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.

www.facebook.com/massiveassault

RingMaster 30/03/2012

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Ominous Crucifix -The Spell of Damnation

Emerging from the still relatively undiscovered wealth of strong metal bands within Mexico for most, Ominous Crucifix are set to release their debut full length album The Spell of Damnation. Offering up invasive slabs of crushing spiteful death metal the album crawls and festers within the senses to give full satisfaction with a bountiful clutch of arresting black melodies, intrusive riffs, and ear intimidating grooves.

Formed in 2007 Ominous Crucifix have steadily created and moulded their black rancid sound starting with their first release, demo Decadent Religious Archetype in 2008. The following year saw a split release On This Land Evil Dwells and their EP Relics of a Dead Faith. Since then until now the band has been relatively quiet. Released via FDA Rekotz, a label coming up with quite a few striking gems lately, The Spell of Damnation is a statement of a band on the rise and of a group of musicians more than competent in bringing forth death metal that is steeped in old school intent and sound without resorting to simply resurrecting previous flavours from influences.

     The Spell of Damnation is harsh and malicious with a raw production which though complimenting the intent throws up negatives. One senses this approach is deliberate from the band bring out and intensity the decayed and festering malevolence within the songs, an occult lined abhorrence of religion that veins the music. The album throws up essences of the likes of Obituary, Vallenfyre, and Asphyx but the resulting creation is certainly something distinct to Ominous Crucifix.

The album starts on an impressive opening in ‘Third Day Resurrection’, an initially synth led emotive piece punctuated with shouts of ‘I think God is Dead…’ There is an ominous bell like resonance giving warning before the track unveils itself with mesmeric heavy riffs and teasing guitars. A relentless grind slices with stabs of urgent intrusive guitar consuming the ear from the fingers of Crucifier and Lord Dweller whilst vocalist Rubens the Mercurial Herald spews gut based grizzled growls from the deepest pit. Guitars dominate the track once it is in full flow making the bass of Omega Tyrant hard to pick out though that is soon remedied in following track ‘Putrid Purity’. His growling meaty predatory basslines crawl and stalk as guitars rampage through the ear. Bringing forward a dirty protrusive grind the track is a constant battering without venturing into abusive aggression. The drums and vocals carry a hollow resonance to them throughout the album which again is suggested as deliberate but only really works with Reuben’s delivery, adding a dark menace and haunting atmosphere. For the drums it is more a distraction and is less agreeable, the beats from The Executioner feeling disengaged from the main body of the songs.

Though the whole release is a solid agreeable brute three consecutive tracks in addition to the opener stand out and show the ability and promise of Ominous Crucifix. ‘Defiling the Altars of an Absent God’ starts with a film sample of a woman being forced to cite The Lord’s Prayer whilst being flogged. Disturbing especially when she slips into silence as the manic flogging continues it leads in an equally dark and wicked track with grooves and riffs that consume eagerly. Again the drums feel separate but the song has more than enough depth and technical creativity on show to draw attention away. ‘Secular Omens of Doom’ takes over with even more intensity and creativity. There is a stronger diversity within the song than on anywhere else, the guitars impressively exploring their realm within the heavy blanket of aggressive intensity. Without breaking into solos and indulgence the track is refreshing and a contrast to the more direct straight forward death metal tracks.

‘Church of Death’ though only a brief almost interlude type track is the other highlight. Haunting with a dark siren voice sinisterly beckoning amongst the crushing riffs and sounds of warfare it conjures visions instantly adding to what is a fine album. Despite its shortfalls The Spell of Damnation is a strongly satisfying album and certainly should be checked out by all death metal fans

RingMaster 10/01/2011

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Entrails – The Tomb Awaits

With a release of the darkest intent and the relentlessness of a reanimated extinguisher of life, Swedish death metalers Entrails return with their second album hoping to and more than likely succeeding in, laying waste the next multitude of souls to fall before their monstrously intense sound. The Tomb Awaits released via Dark Descent / FDA Rekotz is an aural beast standing proud and tall side by side with the growing multitude of old school Swedish death metal bands and releases that are lurking and emerging from the dankest pits and blackest shadows currently. It shakes its targets to the core whilst gratifying them even more deeply, showing that things influenced by the past do not have to come without a vigour, potency, and an attack that is as harsh as modern times can deliver.

Though formed in 1991 and having in those early times recorded rough and in the end unacceptable demos to band founder Jimmy Lindquist, their debut release did not come until 2010 with the strongly acclaimed Tales from the Morgue album. The massive delay came down to the fact the band split up early on and did not resurrect until 2008, when they then re-recorded many of the early tracks and eventually released them as part of their debut album. Now The Tomb Awaits goes even further in satisfying their fans and the anticipation inspired from the debut as well as undoubtedly gaining an even larger and more fervent following. 

It is worth again reminding ourselves that the band began two decades past, seeing in and participating in the birth of the genre, the original sound influencing and flexing its muscular power within The Tomb Awaits. In some ways comparing them against new bands that try and often just fail in their attempt to reanimate the aspects and sounds that made Swedish death metal so powerful and inspiring is unfair, Entrails are one of the originals now simply infusing current sounds and progress to expand on their own creations and ideas.

The quartet of Jimmy Lindquist (guitars), Joakim Svensson (bass/vocals), Mathias Nilsson (guitars), and Adde Mitroulis (drums) have unleashed twelve angry and devastating tracks  on their album that make the earth tremble as they bring forth an intensity to see off the brave and make mindless wrecks of the weak. The album starts off on the instrumental melodic beauty of ‘The Tomb Awaits’, though brief it attempts to fool the senses with its glamour and siren like strains and almost succeeds until the bedlam cries of the wretched break through at its end revealing that the gates to hell are now open. ‘Unleashed Wrath’ hits hard and low to confirm the fact, the guttural strains of Svensson bringing forth venom to match the driven violence of the music. The album has taken hold and is in no mood to let go as the subsequent tracks prove.

The Tomb Awaits has an impressive intensity across its consuming bulk but the likes of the incessant senses stripping ‘Crawling Death’, the light and shadows of ‘Undead’ thrusting its evil potency and gang vehemence forth with some blazing guitar solos to illuminate the way, and the black hearted declaration of ‘End of All Existence’ with rampaging riffs, seamless tempo changes, and enough intensity to tear flesh from the bone, make the album a force not to be denied.

It is obvious upon hearing The Tomb Awaits the band have not turned over new stones or waded through fresh waters of creativity but that is the point and the appeal of the release and Entrails’ approach. The band began in and is steeped in the genesis of the genre, it is their driving force and musical breath and the reason they sound as they satisfyingly do. They may not be openly original with the likes of Entombed, Grave, and Dismember an obvious comparison, but there are few that make such powerful and striking old school metal better than they do. The Tomb Awaits may not be essential listening but only a fool will not give it a go.

RingMaster 15/09/2011

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Hated Embrace – Suffering of the Holy

New Jersey band Hated Embrace are another in a ever lengthening list of bands influenced by and reviving the dark corrupted old school form of death metal, recalling and revitalising a genre to transport the listener back 20 years to the beginnings of the venom dripping beast. Their impressive thrash lined death metal with a tinge of black has led them to a recent signing with FDA Rekotz and plans for their debut full length album next year. In the meantime in ‘celebration’ and as a warm up to their intended future recording the label is releasing the band’s professional Demo Music cassette Suffering Of The Holy on September 23^rd. Held to a limited 150 hand numbered copies the cassette consists of 5 songs over 20 minutes and is a strong indication of what next year’s release will bring forth as well as what will prove to be a highly sought after item.

Hated Embrace formed around 2008 building a strong reputation with their sound and shows with the likes of Carnal, Ominous, Gorematory, Mortum and many more. Suffering of the Holy was released by the band in 2010 before the current line-up of Akash Chatterjee (vocals/bass), Joe McAndrew (guitars), Dave Hewson (guitars), and Ryan Donato (drums) but does feature most of the quartet. Though limited, the release by FDA Rekotz does open up their sound so many more upon hearing it will undoubtedly leap to join their swiftly growing fan base.

The tracks that make up Suffering of the Holy demand attention with pummelling drums that are forceful without going at break neck speed like on many releases elsewhere. There is a good control and frame work to each track because of this allowing the guitars and bass to have a fluency and a freedom to create sounds that are not particularly elaborate or original but certainly are well worked and presented.

‘Moloch…The Devourer’ starts off the release strongly showing Hated Embrace are a band on the march. Laden with powerful riffs and dynamic guitar play it is an instant and satisfying welcome to the band and their sound. It is also the best track on the release though firmly pushed all the way by the likes of title track ‘Suffering of the Holy’ and ‘Remains of…’, the first bringing excellent dark threatening melodies and the latter a doom layered blend of pace, thrust and intensity. Throughout the vocals of Chatterjee poke the fire of hell with his rasping, low groans, though they are not as guttural as many other vocalists in the genre they effectively portray the dark menacing lyrical themes.

The final track ‘Rotting of Remorse’ is taken from a rehearsal by the band and as such is of poorer recording quality to the other tracks but does more than enough to ensure anticipation of hearing a properly produced version of the song, hopefully on next year’s pending release.

Bringing a sense of bands like Nihilist and Autopsy Suffering of the Holy is a definite must listen to all fans of old school death metal and though a limited release they should waste no time in trying for a copy or at least searching the internet for Hated Embrace tracks to listen to. The indication is that their forth coming debut album will be one that will get more than a few excited.

For info about Suffering of the Holy go to http://www.fda-rekotz.com/

RingMaster 09/09/2011

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