Morbid Slaughter – Wicca

MORBID SLAUGHTER BAND

On the evidence of their new 7” vinyl release, there is something definitely compelling about being examined by the exacting thrash fuelled black metal malevolence of Peruvian metallers Morbid Slaughter. They have a sound which is vociferously raw and rigorously invasive and taking the two tracks within new release Wicca as an introduction, magnetically riveting.

Formed in 2009, Morbid Slaughter explores themes of horror, witchcraft, and murder in their encounters, earning a potent reputation in South American metal and apparently in Atlanta. The Lima quartet of vocalist/guitarist AER, bassist TERRA, guitarist IGNIS, and drummer AQVA unleashed their first demo release, Ensayo in 2010 followed two years later by the Torment in the Crypt Demo and last year The Summoning of the Graveyard Ghouls Demo. 2014 has seen already the …Rancid Death Awaits 2014… album released, a compilation of the previous two EPs on Putrid Cult but it is the new Boris Records released Wicca which excites as the band has their first release to be offered to the world.

The title track starts things off and within a breath has ears up against an eager and vibrant scrub of riffs. Crisp punchy rhythms add to the MS_Wicca_7inch_cover_artbrawl which is already squaring up to the senses, their union with the bass a relentless rapacious antagonism. It is unfussy thrash metal roaring in the ears but one seeping blackened malevolence especially in atmosphere and through the serpentine vocal rasps. It is not a perfect proposition, the vocals of AER across both songs simultaneously agreeable yet a little off-putting but to all extent and purposes do convince after numerous forays into the pit of the release, though personal taste still has a little reservation. Also the production is not the best, suffocating the spark of the songs in many ways stopping them from flaring as you feel they should, but to be fair the first song is a festering storm of metal sculpted rock ‘n’ roll which recruits a hungry appetite for its highly satisfying incitement.

The insidious contagion and malicious intent of Wicca is followed by The Nightly Breath of God, another track which reaches from the dank blood sodden earth with a thrash spawned pestilential voice and heart. Riffs and grooves coax the passions with further impressive bait whilst rhythms splinter bone and air with swinging spite as the psyche grasping vocals crawl over thoughts and emotions with toxic syllables and raging rabidity. It is a great track which as its predecessor, survives the obstacle of the production to impress and inflame a real appetite for the band and its sound.

Morbid Slaughter is a thrilling and enthralling encounter, the perfect protagonists and soundtrack providers for a truly vicious adult version of Tales From the Crypt or Night of The living Dead in our view, and a sonic plague easy to recommend extreme metallers and fans of bands such as Sabbat, Carpathian Forest, and Sarcofago allowing to venomously finger their attention.

Wicca is available via Boris Records @ http://borisrecords.bandcamp.com/album/wicca-7

https://www.facebook.com/MorbidSlaughterOfficial

8/10

RingMaster 31/05/2014

Copyright RingMaster: MyFreeCopyright

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Scourge – Hate Metal

Scourge 2

Driving imagination and emotions into the darkest pestilential depths of hell and extreme metal, Brazilian death metallers Scourge unleash their new merciless and ravenous incitement in the venomous shape of Hate Metal. Eight tracks of unbridled filth clad hostility and invention, the release is an invigorating savaging seeded in the first insidious breath of the Brazilian death metal scene. It is vicious and sadistic, an antidote to the “False Metal that still abounds in extreme music worldwide”, and rigorously compelling. Band and album has no interest in creeping into an adventure outside of straight-up death metal but at the same time still creates an imaginative skilled exploit within its ‘confines’ which is venomously varied and uncontrollably captivating, and making a new statement for a well-trodden but always magnetic scene.

Formed in 2007 and hailing from Uberlandia, in the state of Minas Gerais, itself a breeding place of great extreme metal and bands, Scourge made their first strong declaration with debut album …On the Sin, Death, Lust, and Hate… in 2010, a release produced by Gerald Incubus of Sarcofago. The band now uncages its second assault on the senses and modern metal with Hate Metal, an onslaught of spiteful sound and ideation again attacking humankind’s deepest perversions and more.

Produced by the band and Rodrigo Nepomuceno, Hate Metal opens up with a storm fuelled intro, howling winds and funereal breath a Scourge Hate Metal Coverclimatic and messy portentous death knell of the strains of metal they loathe and our souls. It is an intriguing maelstrom of sound and drama which passes by for the instantly carnivorous presence and voice of Sentenced to Die to consume ears and emotions. Within seconds the guitars of Pretho Souto and Mauricio Conçalves have captured the imagination either with predatory riffing or sonic malevolence whilst the rhythmic antagonism of drummer William Santos and bassist Juarez Távora assault and stalk the senses respectively. Driven intensely by the raw guttural growls of Távora, the track permeates and envelops with unbridled malice and invention. It twists in gait and energy throughout its enthralling body, predictability as scarce as mercy in the riveting premise.

It is an impressive start swiftly matched by The Bread that God Crushed, its opening caress of acidic guitar amidst a reserved yet concussive scatter of percussion the perfect coaxing as thoughts and appetite increase their willingness to immerse in the dark encounter. Featuring guest vocals from Wagner Antichrist (ex-Sarcofago and Sepultura), the song from a tenderly start erupts in a torrential malevolence of sadistic beats and scarring riffs. It is a hellacious tempest racked with magnetic sparks and short grooves of melodic causticity which entwine tightly around the ears. It is a bewitching proposition even though its fury is held in rein for the main for a more toxic seduction than found on tracks like the following Angels of Wrath. The third incitement is glorious, from its first breath a mouthwatering provocation of iron tempered rhythms and skin scorching sonics. The richest ferocity is unleashed on the track; its destructive guitar sculpted flumes a treacherous ride for psyche and emotions which the threatening gut bred scowls of Távora openly revel in. The track proceeds to expel grooves and hooks which are as contagious as they are inhospitable whilst both Santos and the strings of the vocalist obliterate air and resistance with their unchecked rancor. It is a mouthwatering triumph, every twist and new detour within its ruinous presence surprising and thrilling whilst the individual craft of each band member adds additional flaming flourishes to the success.

Both Orgy in Paradise and Sacrifice of the Dead keep the new plateau for the album at its lofty height, though neither can quite equal the brilliance of their predecessor. The first of the two is an invidious prowl of oppressive riffs and demanding intensity speared by again inescapable swipes from Santos whilst both Souto and Conçalves vein the tempestuous aural malignancy with infection drenched evocative designs. It is another major highlight of the release, admittedly one amongst many, which is straight away outshone by its successor. As soon as niggling waspish grooves worry the senses within a titan like parade of rhythms, there is a flush of excitement firing up an already healthy hunger for the album. That irresistible temptation never releases its hold as the track builds and hits the senses like a grudge bred avalanche, the vocals a demonic instigator from the heart of the cruelty led predation. It is a beast of a track which finds time to add a web of melodic toxins which only accentuate its vicious beauty and raging disgust.

The Ancient Ritual of Death, with a heavily textured throaty bassline which is just delicious to the ear, steals attention next; it’s opening another which simply absorbs and enslaves body and mind from the first second. Into its full vat of aural vindictiveness, the track slips slightly in its attempt to match previous tracks but with floods of riling riffs and bone splintering rhythms charging persistently across the senses and bass and vocals combined opening up the cavernous depths of vitriol and animosity, the song is never less than gripping and impressively rewarding.

My Hate, My Dreams, My Revenge brings a new side to album and band, its melodic beauty and atmospheric elegance aligned to demon spawned vocal enmity bewitching. The song as the others never settles in one overriding scenery, its peaceful grandeur becoming an exhausting fire of uncompromising tension and smouldering grace before a finale which spews musical and lyrical hate.

Closing with the devastating title track, an anthemic call to brutal arms, Hate Metal is a commanding and thrilling antagonist. Certainly a must for all with a taste for the likes of Sarcofago, Bathory, and Blasphemy, the release declares Scourge as a new important protagonist of undiluted death metal.

Hate Metal is released in conjunction with USA’s Greyhaze Records and Brazil’s Cogumelo Records and available via http://greyhazerecords.bandcamp.com/album/hate-metal

https://www.facebook.com/scourgehate

8.5/10

RingMaster 28/05/2014

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Impiety – The Impious Crusade

Impiety-Group-1

Hailing from Singapore, the blackened death leviathan that is Impiety has been consuming and antagonising senses and passions since 1990, grabbing plenty of acclaim for their unleashed mayhem over an avalanche of albums and singles. This month sees their debut release on Hells Headbangers Records, The Impious Crusade EP, a viciously twisted slice of extreme metal offering proof of that the trio has lost none of the guile and sonic toxicity which marked such albums as Paramount Evil, Dominator, and from last year Ravage & Conquer. The new five track release continues in similarly confrontational creativity but with a certain shift in its presentation, arguably offering no real surprises yet exhausting senses and thoughts with a virulent death metal scourge that keeps the band as a distinct proposition amongst most.

Consisting of vocalist/bassist Shyaithan, guitarist Nizam Aziz, and drummer Dizazter (the band becoming a quartet live with the addition of bassist Guh Lu), Impiety continue to use influences from the likes of Bathory, Sarcofago, Possessed, Morbid Angel, and Venom seemingly in their imagination, though as mentioned they have branded their own signature deep within the genre. A band who have successfully headlined tours and supported others across Europe, Asia, N. America, and many more areas of the world, they have marked the deal with their new label by a release which takes the listener on a demonic ride through hell’s deepest violations sound tracked by sounds which twist and turn on the senses with the primal and skilled predatory instinct of a bestial horde. It is not the most insidious and nasty encounter, or overall one which leaves the passions raging uncontrollably but it is an onslaught that sparks the appetite into impatience for the next full length from the band.

Opener Arrival of the Assassins is a brief track which is more than an intro but still only a swift fist through the heart, its sonic lancing ofalbumart[1]the ear lethal and direct whilst the cage of rhythmic disturbance leaves knees buckled. It sets up the release perfectly every aspect of the band afire and ready to assassinate peace within its recipient, whilst the track itself is an excellent portent of things to come and in many ways the best thing on the release despite its short stay.

The following Commanding Death & Destroy is an instant savage torrent of vitriolic spite and sonic mastery from guitarist Aziz, his fingers conjuring riffs and aural narratives not only here but across the EP that leave you whimpering and greedily immersed in individual caustic scenarios. Ably assisted by the rhythmic provocation of Dizazter and the scathing raw squalls of Shyaithan, the song is a tempest of almost schizophrenic rage and imagination, a storm of quizzing crippling intensity and inventive ferocity.

As next up Accelerate the Annihilation equally tears into senses and thoughts, the slight air of missing originality is evident yet not an issue within the almost suffocating presence of band and sound. The track stomps and prowls with primal rabidity through the ear, switching its attack to leave the listener nowhere to escape to, not that in the face of such a contagious and invigorating brutal ravishment you would seek such refuge. Again the guitar carves out a landscape of impacting persuasion whilst bass and drums enslave with the rapacity of a pack of hunger driven wolves.

The title track scorches air and senses with a sonic wash that is as malevolent as it is addictive whilst the rest of the song is a battering ram of unpredictable savagery created by a technical violence that is almost virulent in its appeal. As with all the tracks, it allows no second for the listener to settle, its disorientating expanse of scything aural discord and bedlam a tornado of adventure and malice.

A cover of the Sorcery track Lucifer’s Legions completes the release, the track a more than decent high octane thrash toned brawl. It concludes a great release and appetiser for what is to come from Impiety. It is a grower too and even whilst writing this piece and listening to The Impious Crusade EP simultaneously a few more times it increases its stature within thoughts and distinction. A release all death metallers should get their hands on.

www.mightyimpiety.com

8/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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Poisonous: Perdition’s Den

Originally out in 2010 as a vinyl release through Blood Harvest Productions, Perdition’s Den from Brazilian death metal band Poisonous is one of those albums which deserves a wider route into the ears of the world and that is just what it has got with its upcoming re-release through Metalhit.com on July 17th.  The album is not one to rip up the blueprint of the genre or overtly stretch its boundaries but is simply a well formed and strongly presented slab of straight forward unadulterated death metal.

Poisonous emerged from the ashes of Impetuous Rage, a band which found its own decent respect in the underground scene and for their album Inverted Redemption. Whereas Impetuous Rage had a sound which could be said to be influenced by the likes of Monstrosity, Deicide, and Vital Remains, the sounds of Poisonous have a heavier and fuller consumption borne from the dark corners of death which bands like Autopsy, Immolation, and Incantation frequent.2009 saw a two track demo from the band gain good approval and included a great version of The Black Vomit from Sarcófago, the same song also closing up Perdition’s Den to great effect. With the re-release of their album one can only think those great responses will escalate far beyond what it received with its previous limited exposure.

The album immediately rears over the senses with opener Subterranean Rules, its bulk a weighty intensity preying on the ear with shuddering riffs and jabbing beats. As the lurking evil of the song exposes itself through the vocals the track raises its temperature and attack, the rhythms at times stepping out of the driven assault to offer a seemingly chaotic and loose aspect to the track. It is all intended and controlled though and is a pleasing feature which reappears throughout the release.

The venomous Worthless Christ ruptures synapses with pure malevolence next to be forcibly backed up by the ravenous breath of Creeping Impurity and the sheer blackness of heart and sound of Blasphemy Arises from the Knowledge. The album as it drives through the ear to permeate every pore with its tenacious venom is a soiling storm with only earns positive thoughts and reactions. From the songwriting through its realisation in further strong songs like Black Clouds And Fever and the title track, to the giving production, Perdition’s Den is an enjoyable and easy to access release. As mentioned it does not force open new avenues but brings what we will call traditional elements of death metal through a fresh and sure touch.

Poisonous have a release which makes no apologies for exposing and violating shadows or the black heart of its victims. It is nasty, uncaring of your sanity, and a vicious rage, it is also a release all old school death metal fans will adore.

RingMaster 10/07/2012

Copyright RingMaster: MyFreeCopyright

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