Deadly Remains – Severing Humanity

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

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

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

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

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

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

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

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RingMaster 06/08/2012

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Offending: Age of Perversion

Taking its heart and breath from the US seeded strain of early death metal, French band Offending has brought a fresh if not new air to the genre with their second full length release Age of Perversion. It is an album which wears its influences like battalion colours and engages and assaults the senses like a merciless determined force. It does not venture too far into new pastures or ignite the fiercest fires with its sounds but the album is far more intriguing and absorbing than most, its skilled play and perpetually contagious imagination ensuring a full and satisfying experience each and every time.

The Bordeaux based quintet of vocalist Jesus The Butcher, a man with a tar like bestial delivery, the striking and inventive guitarists GP and Cyriex, and a rhythm section to incite the deepest primitive instincts in bassist Yoni and V.R. on drums, send the ear and senses reeling with a sound recalling the likes of Cannibal Corpse, Suffocation, Vile, Hate Eternal. Up to this point the band has grabbed a mounting attention through their 2005 demo as well as stage sharing with the likes of Killers, Genital Grinder, Necropsy, and Prophecy. They further accelerated that interest with 2007 mini CD The Destruction of The Human Spirit which marked the debut to the band of Butcher and Yoni, and their greatly received debut album Human Concept of 2010 through Deepsend Records who have also released the new album. Age of Perversion has found the band deepening their obvious creative skill and thought whilst emerging as a release which is brutally intrusive and infectiously manipulative, and sure to increase the acclaim.

The album opens with Infested By His Burden. The track offers an initial sinister and ominous crawl to its energy with the guitars almost teasing the ear whilst the rhythms behind have an insistent but yet to be demanding intensity. It cannot hold back for long though and soon the song is eagerly feasting upon the ear with incisive and divisive guitar craft and drum intimidation. As the track evolves it changes in to an even more combative militant gait, the previous insistence becoming a domineering violence. Though by its end one finds it easier to remember particular elements than the song as a whole it is still one of the more gratifying tracks whilst in its abusive company.

A triplet of consecutive highlights next follows, a trio of exceptional tracks which leave the others on the release in their wake. Firstly there is Within This World, a track with a hunger to twist and manipulate the senses like a military trained wizard, their consumptive intensity consistent and devastatingly exact whilst completely mesmeric. The blend of technical persuasion and bludgeoning malevolent is impressive and entirely insatiable in its desire and ones welcoming. This rampaging melodically armed annihilation leads into the equally ravenous Modern Enslavement. It is like its predecessor a track which blinds one with its dazzling guitar invention and scorched melodic beckoning to the overwhelming destructive purpose of the storming intensity around it. Though not quite as contagious as the previous song it is equally outstanding and thrilling.

The third of the strongest peaks on the album comes in the shape of best track of all, Dominion XXI. The song captures a pure infection with its melodically bleeding riffs and hypnotic rhythms, using the combination as a lure for the senses in the face of another full strength bone splitting strike. There is an anthemic pull for the emotions from the song, its urgent inciteful energy and drive sparking eruptions of instinctive dormant malignance.

These three tracks are worth an investigation of Age of Perversion alone but are ably supported by the likes of the venomous Religion Depravity, the corrupting title track, and the synapse rioting Hopeless Submission, all making for an album which is a very worthy use of any ones time.

Age of Perversion as mentioned is maybe not the most original release and apart from the truly outstanding threesome of quality arguably lacks further immense artillery to constantly enflame the heart. It is though one of the more pleasing and enterprising albums from the genre and easily a companion to share multiple times with and that is what it is all about surely.

RingMaster 18/06/2012

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Sexcrement: Sloppy Seconds

The groove veined slab of debauchery in the shape of Sloppy Seconds from death metal band Sexcrement has to be one of the most addictive and irresistible slabs of extreme metal this year. With lustful saliva dripping from every syllable and wanton sexual tension coating every eager riff and intimidating rhythm the album takes filth fuelled infestation to another level. Within its welcoming blackened seedy walls depravity and penetrative sexy grooves alongside commanding and thunderous rock n roll aggression make insatiable bed fellows. Their union a salacious feast for the senses and an album which leaves nothing but a drooling enthused need to be molested by it again and again.

Released via Comatose Music the album is the second from the Boston, Massachusetts band following up Genitales From The Porno Potty from 2007. Though placed as death metal the 2005 formed band offers much more, their sound brought with a sure technical essence and those delicious unforgettable grooves. With influences of the likes of Broken Hope, Gorguts, Scattered Remnants and Skinless, the band took no time in making their mark with the Whiskey Tits demo and the sharing of stages with the likes of Cryptopsy, Suffocation, Cattle Decapitation, Dehumanized, Anal Blast, Goatwhore, Mutilated, and plenty more. Their debut album saw Sexcrement as one of the leaders of offensive and raunchy metal and the recipient of unbridled acclaim. Sloppy Seconds returns with the same mindset, the same disgusting debauchery, but with even more contagious grooves and not to be denied energy.

The opening Heard It Through The Rape Vine takes a firm grip from the off with a persistently tightening destructive groove like a sonic lasso around the ear. The guitar of Evan Duplessis whether thrusting riffs with direct accuracy or twisting the senses with his precise melodic manipulations is unerring whilst bassist Blue Spinazola and drummer Devon Hunt prowl and assault respectively with bestial intensity. The spiteful wretched delivery of vocalist Adam Mason finishes off the perversity with extra brutal fingering to make a song and subsequent album which one easily opens ears, heart, and legs for.

The following Chemical Handcuffs dives deeper and even more effectively with outstanding bass work from Spinazola throbbing with vengeance throughout the deviancy accosting the senses. In some ways the band reminds of the Dead Kennedys with their riffs, and grooves, not in sound but the way once they have infiltrated they are there for life in memory and heart and applies across the whole album.

The outstanding and arguably best track Well Hungover with its insistent hornet powered groove, the equal swarming infestation Heels Up, and the irrepressible psychotic Trucker Bombed, all ignite deeper and more lustful devouring from the ear. The third of these is a barely controlled slice of mayhem bringing threatening behaviour, sounds, and excitement of the most dubious borne for the fullest pleasure. The track commands full attention throughout and with a video accompanying it starring Scream Queen Linnea Quigley (Return of the Living Dead, Silent Night Deadly Night); the song is destined for classic status.

With obvious humour powering every idea, note, and song premise the great thing about Sexcrement is they never teeter on the edge of joke or novelty band. Their tracks are excellently structured and offer music of the highest order. It is not demanding but nor is it throwaway in any degree. Sloppy Seconds is completed by further impressive tracks in Assisted Living Lapdance, Obestiality, and Ride Johnny Ride, all songs which though they do not quite live up to what came before still leave nothing but chuckling satisfaction. The album is outstanding and one to leave you crushed, shell shocked, and mischievously grinning from ear to ear.

RingMaster 03/06/2012

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Dehuman: Black Throne of All Creation

Black Throne of All Creation the debut album from Belgian death metallers Dehuman does everything right with skill and passion, a release and band borne from  a devotion to the cult early to mid nineties death metal scene of the US and Western Europe. With threatening intensity, intimidating riffs and rhythms to leave emotions and senses sprawled in a heap, the album is a fine and wholly satisfying collection of nine consumptive beasts. It is impressive and easy to see why the acclaim is beginning to build upon the band, and whilst the release did not ignite a lingering personal enthusiasm or fire it is impossible not to be impressed by its technical and melodic prowess and the provocative energy fuelling it.

Formed in 2006 Dehuman has made a noticeable mark in the genre through their live shows and sharing stages with the likes of Agathocles, Arkangel, Hangman’s Chair, and Leng T’che. The band found its full strength in 2010 with the addition of drummer Layhe Louhenapessy to the ranks alongside guitarists Rafaël Sellekaerts and Mathias Boulougouris and vocalist/ bassist Andrea Vissol. The following year saw them enter the studio to create Black Throne of All Creation, the result  a crawling and thunderous brute of an album to delight all fans of old school death metal. If the likes of Morbid Angel, Suffocation, Death, Pestilence, and Nile leave your veins and senses a blissfully satiated mesh of ruptured emotions than Dehuman and their album is definitely one for you though it offers plenty to appeal to those preferring a contemporary breath.

Released through Kaotoxin Records the album immediately seizes the ear and beyond with dazzling melodic guitars and atmosphere to herald in the opener Apocalypse and Perdition. Even in this warmer opening the senses of power and darkened energy is rife through the building intensity and rhythms, its outbreak soon following in a swarm of muggy sonics and scorched melodic invention. The track captivates the attention throughout but when the strong groove stares eye to eye as the guitars violate with precision and the drums of Louhenapessy pillage the ear there is a heightened attraction to the aggressive assault.

As the likes of Monstrosity in the Hands of God  and Eyes of a Thousand rampage and stomp all over the senses the skill of the players bringing the invasive sounds is unmissable, the guitars striking and intelligent whilst the malevolent vocals of Vissol coats every syllable in black spite. It is the drums of Louhenapessy which make the biggest and most striking element to the album, his touch and skill as thunderous and demanding as it is hypnotic and mouth watering.

Stand out tracks include the likes of the flesh stripping Down with the World, the spiralling corruption that is Harvest the Sun, and Black Mamba a track with venomous melodic imagination to light up any ear. It has to be said there is not a weak track on the album with their relative success here down to personal taste and requirements and not the openly obvious invention.

Black Throne of All Creation is a must check out for all with a heart for what they would call the golden age of death metal. Well crafted and superbly written let alone presented the album is formidable  and Dehuman a band to watch closely.

RingMaster 28/05/2012

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