Ade – Spartacus

Epic sounding, tactically dangerous in its sonic invention, and technically destructive in melodic spite and venomous intensity, Spartacus the new album from Italian death metallers Ade is just magnificent. The album blends death metal with the traditional instruments of ancient Rome and Greece for a compelling and thrilling confrontation. It is a never ending twist of corrosive intensity and devious ingenuity coaxed into an encounter which disorientates and mesmerises with equal measure and success, vicious and enthralling the record is a masterful violation and education.

Formed in 2007, the Rome quintet follow up their well-received debut album Prooemivm Sangvine of 2009 with a release which is sure to feature in best of 2013 lists come December, it is a thunderous tsunami of crippling rhythms, senses chewing riffs, and an invention within exhausting intensity which is jaw dropping. Released via Canadian label Blast Head Records, Spartacus offers ten tracks of memorable and riveting power with arguably the fact there is so much going on to take it all in the minor niggle towards it, then again it only makes the excuse to confront its malevolent presence to explore more irresistible. With a sound openly influenced by the likes of Nile and Behemoth, and featuring extreme metal drummer supreme George Kollias (ex-Nile), the album grips from its first breath to its colossal last and has the passions drooling relentlessly.

Betrayer From Thrace approaches the ear with ethnic instrumentation, a hailing horn, and coaxing rhythms, the gentle beckoning lasting only a few seconds before a fury of precise yet bedlamic beats, senses gnawing riffs, and deep gravelly vocals assault the ear, their force veined by sonic invention. As it continues to caustically abrase with a secretive underlying persuasive lure, the song twists and turns allowing its ancient breath and seductive melodic enterprise to explore the ravaging shadows. It is a stunning start which only in hindsight shows that it is merely the lead in to even greater things; its grand chorus of vocals the heralding of an expanding glory.

The welcoming string plucking to invite Sanguine Pluit in Arena into the ear is a delicious intrigue which holds its own as much as it can within the soon to bare furnace of ferocity, again speared by striking guitar invention and a staggering rhythmic attack. The musical call of the ancients wraps around the core of the song to emerge and disappear with persistent irresistibility so that within moments of the track you do not know whether to headbang until numbness is the reward or dance with a veil and salacious intent. It is a near perfect blend and performance soon eclipsed by The Endless Runaway. The following song sways around the ear with beautiful female vocals and accompanying vibrant beats before expanding into a sonic landscape of prowling riffs, commanding rhythms, and mesmerising sonic temptation with waspish attitude. As mentioned earlier, there is so much going on here and on the album to catch or take in at once but nevertheless the song tells a full and colourful narrative which shifts and grows with each charge of its dramatic soundscape.

Across the likes of the outstanding Crixius Flags Of Dishonor, a track as brutal and sadistic as it is hauntingly elegant, the blistering Mars Unpredictable Favour where the drums find their most virulently insidious potency, and Six Thousands Crosses, the album cements its already immense stature in thoughts and emotions with relish and ferocious invention, the technical storm as staggering and wonderfully corruptive as the hellacious tempest of primal intensity and unbridled severity. If there is any flaw, and we use the word loosely, it is that the surface of songs hold a strength of similarity which makes some with an unfocused listen blend within each other’s arms but again it is a mere texture only to look beyond for the greatest rewards.

With Divinitus Victor and For Everything To Be The Same… completing one of the most intensive and gripping albums of the year so far, it is fair to say Ade has presented what will be regarded as a classic not only in their own timeline but that one suspects within extreme metal. Spartacus is not only a must hear but a must have triumph.

http://www.facebook.com/adelegions

9/10

RingMaster 16/04/2013

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Death By Ki: The Right Of Might EP

   

    Add a pinch of Slayer and As I lay Dying with a healthy dose of Metallica and Anthrax, and you get once thrilling and powerfully accomplished band in the shape of Death By Ki. The British metallers as shown by their tremendous debut EP The Right Of Might, is a new invigorating force in UK metal and a band which breathes honest and rampant rock n roll through songs which scintillate and exhaust. Their first EP is a mighty introduction and though arguably it is playing with already seeded ammunition in the genre, the record is one of the most enterprising and exciting releases to hit this year.

From Bridgwater, Somerset, the quartet of Josh Ayerst (guitars and lead vocals), Chris Chamberlain (guitars and backing vocals), Will Robins (bass and backing vocals), and Nick Cope (drums), has grown into a compelling and richly satisfying presence since seeds which began when Ayerst and Cope jammed together as school friends. Subsequent time saw Robins join but it was with the addition of Chamberlain in 2011 that the band found its whole and solidity. The past couple of years has seen the band unleash impressive stage shows on their own and alongside the likes of Gallows, Revoker, Romeo Must Die, Evile, and Be’Lakor, all the time honing and exploring their sound and ideas until ready to record their first offering. Recorded with Jeff Rose (former guitarist for Dub War and Skindred), The Right Of Might is a stunning collection of songs which whilst not exactly re-inventing existing formulas certainly gives them a fresh and impacting fury.

Released May 20^th, The Right Of Might instantly raps on the senses with the first sinewy beats of opener Like Oxygen To Fire. Soon joined by ravenous riffs and keen acidic sonics from the guitars, the track slaughters the ear with crisp rhythms and rabid energy for an instantaneous rewarding confrontation. The vocals of Ayerst brawl with impressive craft and expressive passion to add to the already in place intrigue and pleasure, and as grooves and hooks tease and entwine the energy the track needs to make no more persuasion as to its impressive stance and purpose. But impress further it does with great melodic flames from Chamberlain and a raptorial menacing prowl to the bass of Robins. The song has a familiarity to it which for sure is a consequent of the band playing with existing essences but it also makes it an immediate best friend for the heart, as with the whole release. The fact that the band conjure these already in place endeavours into their own creative rampancy does the release or the massive enjoyment no harm either of course.

The title track follows and within seconds is searing the senses with fine guitar heat and craft. As with the first song soon the storming blend of hungry riffs and bone shuddering rhythms drives the track deeper into the passions with an excellent scraping yet picky melodic vein, which actually reminds a little of the Skids back in their early days, adding another spiral of lust to the brewing ardour. A seamless collision of styles and attitude, the track ignites an anthemic appetite which captures the imagination with merciless efficiency and backed up by the great skill and imaginative rhythmic and guitar sculpting, it is no surprise why the track steal top honours on the EP.

Control (In A World Of Free Will) is a less intensive encounter though still drives with a muscular intent and energy which leaves many other similarly gaited bands sounding pale in comparison. The track again entices and seduces with musicianship which exploits every ounce of quality within the songwriting and a vocal attack which growls and harmonically persuades with matching strength. The fiery solo of Chamberlain again leaves one grinning whilst the song as a whole is a rampant and wholly rewarding bruise of aggressive invention.

The band expands their sound further with Tao, a song with an emotively melodic embrace and enveloping atmosphere which wraps itself warmly around ear and thoughts. The vocals of Ayerst shine even further here, his part gravelly tones given further space to expel every syllable and lyrical intent with expressive breath. The excellent track then passes the metallic baton to closer Lights Out, a tempest of insatiable and debilitating energy which sparks even greater fires. Grooved, greedily riffed, and rhythmically uncompromising, the track ends the release as impressively and powerfully as it all began.

The Right Of Might EP may lack a little originality but whether you can find the same rapturous enjoyment and energising experience that easily elsewhere we doubt. Death By Ki is going to be big, mark our words.

www.facebook.com/deathbyki

8.5/10

RingMaster 28/03/2013

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KomaH: Between Vice And Virtue

   

     If you are looking for something brazenly unique and innovative then Between Vice And Virtue the latest album from Belgian metallers KomaH will not exactly suffice your appetite but for insatiable groove veined hunger driven metal there are few better. Aggressive, powerful, and unrelenting, the ten track beast simply leaves no passion untouched or lifeless with its predatory voracious sounds.

Formed in 2007, the quintet of vocalist Leny Andrieux, guitarists Luigi Chiarelli and Greg Discenza, bassist Nicholas Brynin, and Jonas Sanders on drums, soon sparked enthused attention their way with debut album Straight Line, released in 2009. It was an album which took no prisoners but against the towering intent of Between Vice and Virtue confirms how strong and accomplished the band has become. Recorded with Charles Deschutter and produced by Luigi Chiarelli, the album also features guest appearances by Pro-Pain vocalist Gary Meskil and guitarist Adam Phillips on the track The King of Raptors.

The Brussels band takes mere seconds in seducing the ear, a serpentine groove squeezing tighter and tighter as it introduces opener The Birth. Once settled into its pattern of attack riffs carve their rich touch into the senses whilst rhythms scrambled synapses with their urgent and crippling punches. The coarse scowls of Andrieux squall within the devious web of grooves which entrance continually within the tempest of annihilatory intensity, and though the song switches its tact to tease and wrong foot it all goes to bring overwhelming pleasure to the listener. As mentioned there is nothing particularly new going on but you would be stretched to find too many songs or releases better or as irresistible in the area KomaH rampage.

      One After The Other and Breaking Horns continue the strong start even if with a less impacting presence than the terrific first song. Both tracks though are not content in sitting back and simply chewing on the ear with skilled violence, the band easily able to do so and keep the listener riveting for sure, but as in every song there are shifts in gait and direction which are imaginative and seamlessly crafted. A Humbling Experience is the perfect example, the song from its emotive piano start with the gravelly tones of Andrieux adding a coarse glaze to the melodic lure thrusting forth heavyweight carnivorous riffs and acidic grooves to devour with glees as spite drips off every note and syllable. It is a continually impacting song which brings a wealth of raw energy and breath taking persistence through creative and unpredictable craft.

The King of Raptors adds more devastation to the battleground raging welcomingly inside the senses and thoughts, its intensity gnawing with rabid eagerness whilst melodic sonic enterprise picks the bones of its victim with an equally intrusive lust. It is another magnetic aggressor which makes way for the equally mighty and compelling Last Way To Cerberus, a track which shows more restraint than elsewhere but still leaves exhaustion in its impressive wake.

The instrumental Beyond The Limits is in a way puzzling but equally exceptionally potent. The dramatic and epic sounding piece feels out of place where it is positioned, though you can feel a relationship to the beginning of its predecessor. It feels almost like an interlude with no real connection to the sounds around it but it is so impressive and emotively inciting with colourful imagery flying from its depths, that one feels as an opener it would have truly found its triumph.

Through the remaining likes of the raptorial Destiny Written In Blood and the senses burrowing feast of excellence The Hunt, the album just ignites the passions continually. It is a release you can immerse within knowing that every time it gives its all with the purest of heart and temptation. Between Vice And Virtue is a thrilling and thoroughly satisfying release which knows what it is great at and takes that to its most potent extreme. KomaH is a band you can only ever eagerly make time for.

http://www.komah.net

www.facebook.com/komahofficial

8.5/10

RingMaster 15/03/2013

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Beissert: Darkness: Devil: Death

    Darkness: Devil: Death is an album where during its rampage through the ear inspires a varied mix of thoughts, at times some confused and uncertain, but by its end one thing is distinctly apparent, it is overall quite simply a thoroughly  enjoyable confrontation. The fourth release from German metallers Beissert, the album is a persistent tempest of groove, heavy, and thrash metal, which continually captures the imagination even during moments when its ideas fail to spark the same enthused responses bred elsewhere within its muscular onslaught.

Formed in 2005, the quintet from Dresden has forged a strong reputation, their self-released demo a call to arms [for failed ones] the same year, the first encounter with their formidable sound. The 2007 album …nothin’ left to luv! brought a wealth of flavours and styles into its aggressive breath whilst, like the new album, the Agonia Records released thePusher two years after, unleashed a darker and more intense breath to its forceful destructive invention. Darkness: Devil: Death in many ways is the blossom of the seeds sown in the previous two albums, its heart and venom the blackest yet but brought through a wealth of creative spicery and diversity within metal and rock. It also has that insidious tendency of brewing up its attraction in the shadows to suddenly hit thoughts during numerous visits that actually the album is one enthralling and deliciously tasty treat.

A constant storm of sound and intensity, the release opens with Thy Chthonic Cathedral, a track which brews up a darkened atmosphere of impending shadows and energy before letting loose a riot of ear grasping riffs and bone snapping rhythms. Immediately grasping attention from its lazy stance the song begins to work its sonic alchemy on the senses with a tight serpentine groove with licking sonic flames surging around it and the impressive vocals of Bssrt. Coarse, clean, squalling, his delivery alongside impressive backing elsewhere ignores boundaries and definition to ravage like the varied sounds but all is rich in skill and stunning creativity. It is an impressive and pulse racing start easily matched by the following title track. DarknessDevilDeath is a bruising course of thrash and hardcore speared by scintillating spikes of classic and melodic extreme metal with vocals again rich in variety to inspire further impressed passion. At times the rhythms threatened to fall into chaotic disorder but the band hold a tight enough rein to let their randomness intrigue and leave the listener lost in thought and satisfaction.

Through tracks like Age Ov Darkness where the vocals are as manic as they are contagious, the fiery Zorn Der Geister, and My Path Shall Be Your Wrath, Beissert continue to expand their invention and intense ferocity with a soaking of changing essences, the latter of the three splitting the classic core of the song with nu-metal and charred ravenous grooves. Though the trio do not find the depths of enticement and triumph as do the opening pair, they still leave the listener greedily focused and ready to taste more, the latter of the three epitomising the album as a whole in that the more time spent in its company the stronger and lasting the persuasion.

Perm Trias steps forward as another invigorating highlight, the abrasive scowls of Bssrt and flesh searing grooves an irresistible temptation soon surpassed by the expanding intense grind of the song and the clean vocals, though at times they do push the limit pass personal pleasure point. One of the less dramatic and aggressive tracks it nevertheless hits the target with ingenuity and simple insatiable rock n roll.

Through the following I Am The Lore and Do What Thou Wilt the album drops into a bit of a lull though both songs have plenty to offer, the first especially with a White Noise era Anthrax like presence but against next up DXXXV they are warm up acts to its towering presence. The track gnaws the senses from its first rabid note, riffs chewing flesh and rhythms dissecting cartilage. There is a death metal malevolence seeping from the heart of the savagery whilst the guitars sculpt a melodic lattice of flames with sonic expertise to temper the primal devastation at work. The best track on the album it carves its place in the passions with malice and inventive vivacity.

Ending with the again Anthrax whispering De Profundis Clamavi with its spidery sonics and Die Diamantenen Tore Der Hoelle (Polaris), a track offering a stoner seeded invitation, Darkness: Devil: Death is an album impossible to ignore once bitten by its rapacious claws. It ebbs and flows at times in regard to lighting fires but at all times Beissert twist the screw of imagination and adventure resulting in a release which emerges as richly pleasing.

https://www.facebook.com/beissert.dwtw

www.deathworship.com

8/10

RingMaster 14/03/2013

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Blunt Force Trauma: Beyond

 

    From the first abrasive riff to its very last raptorial note the Beyond EP from Australian metallers Blunt Force Trauma allows no time for the listener to take a breath or seek refuse in any less intensive opportunities. The release is a furnace of aggressive passion unleashed through a torrent of exhausting enterprise and bruising confrontation and one thrilling adrenaline soaked encounter.

From Perth, the 2009 formed band has garnered a towering reputation for their performances and music, its sound bringing them the tag of “Thor’s love children.” The past few years has seen the quartet leave audiences wasted from performances alongside the likes of Macabre, The Amenta, Truth Corroded, 4arm, Desecrator, and Grotesque and with the release of their new debut EP and tours confirmed in India, Asia, and North America over the year ahead, 2013 is looking a breakthrough period for the band, something which would be a shock if it did not come to pass such the might of their release.

Opening track Whore of Eden gravitates into view with industrial hydraulics before exposing firstly coarse riffs and then an engrossing spine entwining groove. Blunt Force Trauma brings a fusion of groove metal and metalcore with rich veins of numerous other rewarding unique genre inventions and the first track is an immediate explosion the resulting impressive corrosive excellence. As riffs rip flesh with their muscular snarl and sonic sabre cuts the ravenous caustic vocals brawl upon the senses with purpose, viciousness, and contagious effect. Clean vocals add a compelling lure alongside the rabid growls whilst the rhythms of drums and bass prey on the wounds caused with pack like militancy and ferocity. The track is a tempest of confrontation fervour and outstanding craft with loud whispers of Bloodsimple and Killswitch Enagage. It is hard to say the song is offering anything toweringly new sound wise but few bands recently have found the depth and power let alone primal pleasure instigated here.

Closing off its capture of imagination and passions with a sirenesque groove and equally tempting predatory bass flirtation the track is an immense start matched by the following Meat Puzzle. The song initially grazes the ear as if waiting for a reaction before breaking into a stomp equipped with a tight slightly wanton groove and hungry eager heavy riffs. Clean metal vocals burst from the core of the song to instantly bring variation to the whole release, something which each subsequent song reinforces with skill and imagination. Though not the riotous onslaught of its predecessor the track still rampages with an energy and intent which leaves the senses eagerly agitated whilst with its classic metal overtones within the guitar teasing and expressive vocals, a feverish greed is soon driving the appetite for more.

Defiance instantly caresses the ear with a mellow yet sinewy melodic guitar cascade of fiery sound and invention with the again formidable rhythms and muscular bass coaxing its flames higher for further pleasure. It is not long though before the song is charging with the drums calling, the march of their insatiable rapid punches evolved into a rumbling pulse framing another insidious groove manipulation firing the senses with devilish efficiency. The track is a maelstrom of passion, aggression, and thought plundered by superb moments of melodic and emotive clarity, vocally and musically. For the main though it ravages with impossibly infectious enticement from riffs and rhythms, it is not over complicated or dramatically ground breaking but oh it is irresistible.

The closing Eulogy is an explosion of unrestrained metallic revelry, thrash, and punk dished up in an insatiable storm of mayhem and sonic lust. Equipped with waspish grooves, bone splintering rhythms, and savage energy the track is simply rock n roll at its very best…and most inflammatory.

With The Beyond EP, Blunt Force Trauma shows with a vengeance why they are one of the loudest names on the lips of the underground scene and simultaneously declares their intent to infest and enflame the wider world with their towering sound, something it needs and deserves..

http://www.facebook.com/BluntForceTrauma.au

9/10

RingMaster 07/03/2013

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KLANK: Urban Warfare

    With a new release waiting on every click of a button each and every day, it is easy for some impressive music to slip by the attention of far too many unsuspecting ears. Urban Warfare from US metallers KLANK is one prime example, a mighty incendiary album which has yet to surface on the radar of a great many though it was unleashed last year. Consisting of fourteen slabs of irresistible industrial metal veined by magnetic electronic lures and even more seductive delicious grooves, the release stops you dead in your tracks and recruits the passions in a brawling riot of enterprise and intensive energy.

Since forming in 1995, the band has earned a rich position within the metal underground constantly breaking into wider recognition and acclaim through their immense live performances and vigorously compelling releases. Consisting of vocalist/guitarist Daren KLANK Diolosa (ex-Circle Of Dust), guitarist Danny Owsley, bassist Charlie Parker, drummer Eric Wilkins, and Pat Servedio on guitar, keys, programming and production, KLANK first smacked music in the face with debut album Still Suffering via Tooth & Nail Records in 1997. It brought muscular groove metal, industrial, and dance music together with a vengeance and brought plenty of intrigued and enthused ears their way as well as strong radio play. Its successor Numb two years later elevated the band further especially with its immense and successful single Blind, and its re-issue the following year only added to the brewing rise of the band. KLANK also made plenty of compilation appearances over this period but arguably their real dawn of recognition came through the In Memory Of… EP in 2007 and the fifteen track release Numb…Reborn three years later which included guest appearances by Jim Chaffin, Larry Farkas and Mike Phillips. Urban Warfare though is the band at its finest moment yet and the album to place them in the higher echelons of grooved/industrial metal.

The best way to describe the album is a fusion of the previously mentioned musical spicery in a richer and more potent flavour. Imagine an aggressive offspring of Pitchshifter and Pitbull Daycare incited to further devilment by Dope and Powerman 5000 and you get wind of the tremendous energy and invention going on. Opening on the intro A Call To Arms with its infectious beckoning and full incitement the album takes no time in offering the fullest persuasion with Unamused. Its initial caress is an electronic sway which is soon ruptured by towering riffs and thumping rhythms whilst still delivering its own warm dazzle. Into its stride the track rampages with real hunger from the bass and guitar riffs to consume the senses whilst the drums of Wilkins prey on the ear like a middleweight boxer. The vocals of Diolosa are a stirring blend of clean with enough growl to intimidate which match the stance of the song, its combative gait entwined with the melodic heat of the keys.

The title track has a Toxic Grind Machine feel to its darker shadowed intensity and malice whilst still unleashing a contagious melodic inducement to bring feet and passions to energetic life. Its sturdiness and suggested violence makes a great contrast and variation to its predecessor and the following Bigger Man, though neither of these songs lacks feistiness or a burning passion to bruise. Bigger Man is a tempest of tumultuous riffs and rhythms tempered by a virally contagious chorus and the mesmeric sultry dance of the keys. Certainly one of the biggest highlights in an album which is one big pinnacle, the song is the final piece of suasion to ignite a real ardour for the release.

Songs like the squalling and impressively abrasive Alive in Me, the quarrelsome Built to Survive with its wonderful avalanche of explosive rhythms and prowling riffs within an equally intensive and raptorial atmosphere, and the excellent Stomp You Out, continue to drive the album deeper into the heart with accomplished invention and even headier passion. The third of the trio is another disputatious encounter with a thicker industrial metal oppression and heat playing like a mix of The Browning and Ghost In The Static.

As further tracks such as the less intense but greedily imposing Blow It All Away and the malevolent Disdain with its outstanding primal predatory caustic breath work on the passions, Urban Warfare stands without any notable flaws or deficencies…that is until the final pair of songs. Now to put this into context if Eraser and Something About You was on another release they would earn strong applause for their straight forward metal and raw ‘live’ state, they certainly stand as strong songs but against what has come before they feel out of place in time and situation, simply they are pale against the rest of the album.

Despite that minor niggle, Urban Warfare is outstanding, an album all metal fans should take time to immerse themselves within. KLANK stand on the edge of the widest recognition and deserve every ounce they get.

http://KlankNation.com

8.5/10

RingMaster 15/02/2013

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Order Of 315 – Near-Birth Experience

     Near-Birth Experience in its initial encounter made for an extremely pleasurable bruising rampage but given time and frequent sorties with its antagonistic and deeply satisfying riot, soon became an instigator to the hunger to chew upon the world and all its occupants. It is arguably not the most destructive release you will come across but certainly offers enough brutality to send the senses into a glorious riot whilst unleashing a diverse enterprise with spores birthed in a cross wealth of genres which ignite the passions with ease.

The 2010 formed French quintet distils the crucial essences of anything from hard rock, progressive, and alternative metal to metalcore, and thrash into their own focused sound. It is a brew which sparks plenty of varied comparisons to others but stands apart from most. Despite the wealth of different spices musically the band does not operate in new undiscovered realms but instead uses their inspirations in a way unlike most others. Near-Birth Experience is their debut album which proudly and eagerly assaults the ear with this intriguing mix to leave nothing less than enthused emotion in its muscular wake. It is not quite flawless but any niggles disappear into the storm of impressive enterprise and irresistible energy.

The album explodes into life with one of its many highlights. Enemies Wait Inside prowls as it leans against the senses with concussive percussion and thumping rhythms whilst riffs snarl and unleash a raw breath upon the ear. With the taking of a slight musical breath as the vocals of Edgar Jabberwocky enters the affray, the track stomps into a course of pace switching and magnetic enthralling invention. The track immediately gives pointers to the influences which have styled the sound of Order Of 315. As it unveils sinewy caresses and simmering intensity it triggers a flight of thoughts and comparisons to the likes of Korn, Marilyn Manson, (Hed) PE, and fellow Parisians Watcha. It is an exciting potent encounter where the bass of Giovanni R. Baldini is an impressive provocative shadow throughout and the guitars of Klaus K. Kersey and James W. Lowellson the conjurors of melodic and sonic flames which shoot across the backs of the uncompromising riffing.

Dogs That Lick, Dogs That Bite (The Leary Bill Of Rights) takes up the challenge of following the strong start with relish. It is another measured consumption with compulsive riveting riffs and sonic scything whilst the vocals squall with full passion eye to eye with incited thoughts and impressions of their recipients. With more than a heavy whisper of Five Finger Death Punch and Hellyeah to its stance the song bristles with attitude and makes the richest persuades convincingly with its compelling twists and varied craft of sound and gait. The drums of Pablo Civil have a more controlled muscle to their demands than with the first song and only add further stature to the track and its depth. The song unveils more of the great craft and skill of the guitarists which was hinted at in the opener, the sonic solo midway a furnace of energy and heart which leaves a lasting impression.

As the songs come in rich and muscular presences so the variations continue. The excellent Some Like It Shot opens a door into the thrash/metal touches of a Metallica whilst The Pact breeds grooves and incendiary melodic scarring which explodes with tones of Black Label Society and Machine Head. Nonpoint is another varied caustic contagion, the song a grasping and rasping expanse of barracking rhythms, ravenous vocals, and infectious melodic imagination. It taunts and rips at the senses until they and the heart is a quivering compliant and most of all a greedily willing victim. The song is a towering example of the band at its best on the album and another major pinnacle in its hulking presence.

To just raise one minor quibble over the album, the vocals are outstanding throughout but they do bring a similarity to the tempests which defuses a little of the differences between the songs but something which you can expect to work itself out ahead. As more of the album stands tall and raucous against the ear through songs like S.A (Territorial Glorious Story) and the closing gem Mr Brainwash, the release forges itself deeper into the passions. The release is an excellent debut from in Order Of 315, a band with a wealth of obvious promise still to be explored and exceeded. Near-Birth Experience is an album which we have no hesitation in recommending.

https://www.facebook.com/OrderOf315

RingMaster 19/01/2013

Copyright RingMaster: MyFreeCopyright

 

Putrid Blood: Absolute Profit

It would obviously be a dumb thing to say that Absolute Profit from Serbian metallers Putrid Blood is one of the very best thrash album of the year so far but whilst being ravaged by its inventive and tumultuous creativity you know that the same claim in more than a few months time will be just as undeniably valid. The release is an outstanding storm upon the senses from a band which has evolved from their impressive Fire At Will demo of 2009, into a masterful and accomplished unit with a compelling and enterprising sound.

Formed in the opening strains of 2008, Putrid Blood has certainly drawn and found a good recognition and loyal following in their homeland which has spread further afield in recent years. Formed by guitarist Srdjan Ranisavljevic and bassist Slobodan Stanic, who left soon after its formation to be replaced by Srdjan Hardi, the group was just a project in progress in the first year or so as they worked on writing thrash cored material. During this time the band expanded with the addition of vocalists in Stevan Milankovic and Bojan Goluza, and drummer Petar Barna, and as the new members made their contributions the sounds being created evolved further with strong elements of hardcore and black metal flavouring the music, which the new album impressively shows. Fire At Will as mentioned brought the band to the eager attention of many people as well as earning a good depth of acclaim and with the recruitment in 2011 of second guitarist Vladimir Jašćur the sextet began the recording of their first album last year.

Absolute Profit builds on the attention marking EP by showing a maturity to the song writing and a level of imagination and adventure which has grown and flourished from that earlier recording. The band is as aggressive and formidable as ever but  has honed their invention and sound into something which is unpredictable and intriguing whilst arguably safely within the already set walls of thrash metal. Opening track on the album, Vulture is immediate proof of what the band is about and evolved into. With demanding rhythms and ravenous riffs the track is a feisty charge of energy and sounds which run with a hunger through the ear whilst a inciting and mischievous groove grips the passions tightly. The dual scowling vocals are as raw as the intensity borne from the caustic breath of the song whilst the sonic sparking of the guitars which shower the track with searing heat leaves one basking in joy . The track is in many ways a straight forward riot but brought with a skill and passion alongside outstanding sounds, it is just an irresistible bruising.

The corrosive Silovanje unleashes its venom on the ear next, caustic melodies and rabid riffs a greedy tempest upon thunderous rhythms. There is a death metal grasp to the storming malice conjured and in less than two minutes the song causes more damage and unbridled pleasure than the majority of much longer plundering exploits found elsewhere over the past clutch of months. Both tracks leave a  breathless reaction but the album is just warming up and in For God’s Sake unveils greater heights within its course. From the pulsating rolls of drums and the classic metal lilted guitar flames opening the song a strong variation is beginning to be ventured into by the band. The track is still a thrash cored brute but with the insatiable delicious groove and grinding stance is also a raw seduction of originality and incendiary enterprise. Again it is short and of any gripe you can think of it is that songs often end just as the heart is in full blaze.

Tracks like the intimidating Kontraudar and the black metal veined Re-Animator without reaching heights already attained continue the deeply satisfying onslaught with ease and accomplishment whilst the song Zver scars and tramples the ear with a uncomplicated thrash outrage for a rewarding and merciless confrontation.

New plateaus are breached when Prey upon warning sirens and a brewing atmosphere makes its arrival. Stretching its back and driving its muscles into action, the song stomps with unrelenting riffs driven by a greedy appetite and barbaric rhythms which show no sense of mercy or lessening in the potency of their tirade. As throughout the album, the bass of Hardi prowls and stalks the senses with great skill and power, whilst the track itself is an excellent aural predator drooling and leering over its victim.

The Miner Recordings released album is completed with further impressive brawls, firstly by Rođen za Pakao with its heavy metal spicery, the blackened and harsh vastness Nespokoj, and the thrilling instrumental Moment Of Clarity. They complete an album which is so easy and irresistible to return to and to recommend to all. Putrid Blood has come of age and one can only hope their time is now.

https://www.facebook.com/putridblood

RingMaster 18/01/2013

Copyright RingMaster: MyFreeCopyright

Infernal Poetry: Paraphiliac

Bakerteam Records has started off the year with a blinding unleashing of irresistible extreme metal. In a twin upper cut of aggressive magnificence the label has released the newest assault of deathcore malice from Straight On Target and on the same day this week let loose the new corruption from Italian psyche grooved death metallers Infernal Poetry. Paraphiliac, their fourth album and first with Bakerteam, is a masterful outpouring of venomous destructive passion through a caustic tempest of contagious compulsion. Like the release from their label mates, the new album does not worry the heart of uncharted territories preferring to use the weaponry available but again like their compatriots has turned it into a sensational and invigorating assault for ear and heart.

With the roar of bands such as Devildriver, Cryptopsy, and Bloodsimple amongst others to its presence, Paraphiliac is an explosive violation of exhausting intensity, impressive technical malefaction, and infection causing imagination. It immediately takes charge of the senses and passions with no thought for subtlety or gentle persuasion, instead ripping the flesh from the ear and force feeding its delicious and virulent energy not to forget enterprise through to the core. Having been formed in 1996 it is surprising and disappointing this is the first time the band has come to our notice but now they have come into view and infected, they and their album hold a tight grip.

Following on from their acclaimed album Nervous System Failure of 2009, Infernal Poetry has forged a release which devours the soul. As mentioned it storms paths arguably well-trodden by other bands but turns them into turbulent and erosive journeys newly heard and felt. The album fuses to its sound everything from groove metal and grind to at times a bedlamic melodic teasing which almost touches avant-garde. The album within a recognisable and thrilling tempest of sound and energy is unpredictable and enthralling, each song an incessant maelstrom of intensity and anger which leaves one in lust for the new yet familiar overwhelming brutality.

Off the brief coarse ambience of intro Preliminaries, the album ignites with Stumps, a track which claws at the ear before turning into an insidious brawl of intensive abuse and invention. The vocals of Paolo Ojetti squall and crawl all over the senses with malevolent provocation whilst the rhythms of drummer Alessandro Vagnoni and the ravenous bass of Alessandro Infusini lay aggressive shadows and weight upon the under sieged ear. It is an intimidating presence veined by an impressive melodic intrigue offered by guitarists Daniele Galassi and Christian Morbidoni from within their constant blaze of unforgiving riffs. By mid-way the Ancona hailing quintet has seduced the passions with their turbulent onslaught and from there on in through the rest of the album just work deeper into the psyche and heart.

The irresistible rage continues unrelentingly through the likes of the outstanding In Glorious Orgy and Everything Means “I”. The first is an erosive rub with a sonic groove as persistent and nasty as a swarm of hornets and the continuing great deeply grazing vocals of Ojetti. The song sweeps into less intrusive winds at times, an almost progressive lilt adding potent whispers to the simmering fire of the moment though for the main the track is a flaming furnace of intense and raw intent. The second of the two also takes one on a varied and shifting trip of burning invention and twisted experiences. A feisty inviting groove flares from within the bruising course of the track with a wanton teasing at times to offer extra irresistible invitations to the enveloping abrasion. The track also adds a magnetic sonic aside which lights bolder fires within for its craft and imagination but like its companion both songs as excellent as they are pale against the song which splits them.

Hypertrophic Jellyfish is sensational, a track which fingers every lustful demands you could want from a song for the deepest pleasure. It is a stomping encounter of thumping rhythms, acidic discord, and a fury of schizophrenic grooves and insane melodic wantonness, all fuelled by an insane breath which disturbs as much as it excites. One of the best songs to bless our ears in recent times it is the loftiest pinnacle on the album of constant highlights.

Through songs such as the ruinous Cartilages, the distress touching satyric The Miss-Treated, and the grievous Paraphilias to mention just another three, Paraphiliac continually lays rich ravishing rewards and far reaching satisfaction on the senses. Extreme metal is off to a stunning year and Infernal Poetry to the fore of the reason why.

http://www.infernalpoetry.com

RingMaster 15/01/2013

Copyright RingMaster: MyFreeCopyright

Psychogod: Alone

Infusing and manipulating the best essences of multiple genres, Alone the debut album from Romanian metallers Psychogod, is a strikingly mighty and formidable introduction to a band which you can only assume will become a widely acclaimed name in the future going by this impressive release. Aggressive and accomplished, the eight track album combines the sinews and invention of groove, black, and industrial metal with the abrasive muscle of hardcore and thrash to create a riveting and contagious slab of prime destruction. The fact that you get the sense the band is still evolving their sound into a truly distinct rage makes the release even more staggering and thrilling.

The band was formed in 2009 by guitarist Dank and vocalist Cristina and has since lit up stages alongside bands such as Furnaze, Infected Rain, Code Red, Deadeye Dick, Deliver The God, Vepres, and many more. With their sound evolving to bring a deep mix of styles and flavours into a rapidly impressing result the band garnered plenty of acclaim from media and fans alike and found itself playing the main stage of OST FEST 2012 with Overkill, Exodus, Dimmu Borgir and Motley Crue in 2012, before working on and unleashing their first recorded introduction to the world.

The album thunders through the ear immediately with the rampaging malevolence of Godphobia. It is a pace building avalanche of carnivorous riffs, senses exploiting rhythms, and rabid pestilence driven growls from Cristina. From predatory prowls to rampant surges of merciless intensity the track shifts and teases wonderfully leaving one breathless and excited throughout the song and for what is to follow. The immense delivery of Christine is outstanding, her voice and attack bringing the best elements of an Otep Shamaya and Krysta Cameron (Iwrestledabearonce) and more. She is sensational on the album matching and driving the equally important sounds to darker corners and deeper ravenous exploits.

From the mighty beginning the album brings its erosive qualities to bear with Against the War. From the pummelling rhythms of drummer Andrei and exhausting basslines of Dragos to the grinding riffs and melodic taunting of guitarists Dank and Mausy, the track captivates and bleeds enterprise all over the ear and beyond. It is a pleasing mix of resourceful emotive weaves and unchained intensity which maybe does not reach the heights of the opener but leaves a deeply appetising taste to devour again and again.

The pinnacles of the album are pushed again and again throughout its length, the excellent Rise just one of many massive highlights in one lofty experience. With energy churning riffs and a viciously growling bass to match the expanse of vocal insidiousness, the track is a devastating squall of noise and intensity to greedily bask within. Cristina offers serpentine squeals to lick the ear with infectious seductive treachery within the pleasingly challenging and contagious sounds, and under its assault only rich pleasure is borne.

Through the title track and the following Blind the band offers something different and intriguing again, the first a winding spire of punchy rhythms and twisted sadistic grooves whilst the second is a brutal and rapacious contention for the ear. Arguably less captivating than other tracks both songs are a fury of imagination and bruising invention which leaves only acclaim on the lips. They also continue to show the good variety within the constant brawl of sound to make each track new and enthralling.

The heavy metal fired We Are Not makes for a fiery companion with its battling breath and pressing intensity to again bring yet another spice to the release whilst the final pair of songs, Inferior and Gunshot, completes an exceptional album with more striking quality and power, the last track especially a corrosive and violent treat.

Alone is an excellent inventive fury which will thrill and intoxicate any extreme metal fan. It shows in Psychogod a band on a steep rise with imagination and power to match, which hopefully the world will soon catch on to starting here.

http://www.psychogod.ro/

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright