Guilty As Charged – Leap of Faith

BAND guilty as charged

On the evidence of their debut album Leap of Faith, Belgian metallers Guilty As Charged create a brew of thrash fuelled heavy metal which without stretching originality too far provides a rather tasty and invigorating proposition. The band’s new album is a fiery and creatively gripping encounter which surges and rampages with all the right moves to ignite ears and passions as its ferocious enterprise works away on the imagination. A game changer it is not but for riotous pleasure and honest satisfaction not many albums have surpassed Leap of Faith so far this year.

Formed in 2008, Guilty As Charged soon made a good impression with their live shows and the following year through the demo Boxed In. That was followed by the quartet sharing stages with the likes of Pro-Pain, UDO, and Stormrider as well as festival appearances at events such as the Alcatraz Metal Festival in 2011 with Helloween and Death Angel, and Masters @ Rock 2012 with Soulfly & Channel Zero. Recorded last year, Leap of Faith is poised to push the foursome of vocalist/ rhythm guitar Jan De Vuyssere, lead guitarist Dempsey Derous, bassist Hannes De Caluwe, and drummer Matthew Vandenberghe into a wider and more intensive spotlight, one certainly deserved by the storming presence and exciting escapades within the release.

Opening track Preach to the Masses instantly seizes ears and attention with its swipe of melodic coaxing which is soon over run with thumping rhythms alongside keen and feisty riffs. It is an easy bait to find an appetite for, one growing Albumcover Leap Of Faithinto a magnetic stroll of roving beats and a senses entwining sonic enticement. The raw and grizzled vocal roar of De Vuyssere only accentuates the impressive and incendiary start, sparking off an even richer strain of guitar endeavour to snake across the song’s climate. In full muscular flight, the track badgers and intimidates with resourceful enterprise and a great rapacious groove which flirts perfectly with the throaty basslines and the melodic scorching of heavy metal incitement. It is a riveting entrance by the album, not one to leave jaws slack in awe but one to fire up body and emotions for a greedy anticipation for the subsequent tracks.

Those expectations are soon fed a tasty morsel with Last Chance, a track which does not quite match the opening plateau but still sets its own thrilling level with predatory riffs and similarly gaited rhythms and vocals. There is an underlying hostility to the song but it is tempered by the blaze of melodic enticement and skilled sonic suggestiveness. The vocals like the music mix up their textures and attacks to add their own depth and intrigue to the rampant confrontation. Its triumph is soon rivalled by the outstanding title track which from its funky lead in expels waves of sonic intrigue to which the ever impressing vocals add their expressive narrative. The dark hearted tones of the bass and ridges of riffs only add to the rigorously contagious encounter whilst Derous lays a web of ingenious bait which is as insatiable as it is addictive. There is also a punk edge to the track which offers hints of Suicidal Tendencies and Biohazard to the flavoursome and impressing mix.

Both the Metallica like I’ll Never and the enthralling Lonewolf bring diversity and potency to the release, the first prowling and gnawing on ears with sinister expression and predatory invention which sparks the imagination into new adventures. Its successor again has that fierce attitude and breath with an air of the likes of Megadeth and Testament to it yet with its exploratory sonic designs equally provides something individual to the band. Both tracks incite the listener to join their potently anthemic calls before the melodic caress of Elysium wraps its elegance around ears. With rising sultry flames of guitar and emotive hues, the instrumental makes for an evocative engagement before making way for the bruising presence of Lack Of Control. With a caustic scent to its rapacious intensity and attitude, the track boils and bellows with passion and antagonistic purpose whilst veining its roar with acidic shards of sonic invention and colour which as much as the song intimidates equally seduces.

The album is closed by Down, maybe the least eventful and striking track on the release but a song bringing Leap Of Faith to a mighty close with its Pantera-esque swinging groove and simply ravenous intensity. As suggested Guilty As Charged do not change the face of heavy and thrash metal with their first album but certainly they have given it a thrilling and explosively enterprising new proposition and who cannot be up for that?

The self-released Leap of Faith is available now.

https://www.facebook.com/pages/Guilty-As-Charged/73401643876

8.5/10

RingMaster 05/08/2014

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Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

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Channel Zero – Kill All Kings

Channel Zero - Band Photo 2014 #3 - Photo Credit Tim Tronckoe

The first release since the untimely death of drummer Phil Baheux, Kill All Kings from Belgian thrashers Channel Zero is a worthy tribute to their friend and one of metal’s rigorously stylish stickmen. The loss of one of the Brussels quartet’s founders understandably almost brought the band to an end but honouring him by not giving in to the obvious temptation to call it a day for the second time, Channel Zero has unleashed an album which simply sees the band draw on all its undoubted craft and invention to create a captivating and thrilling encounter. It is not an album to set new templates or plateaus for thrash metal but like a safe and rewarding friend hits the sweet spot of wants and satisfaction for a thoroughly enterprising engagement.

Formed in 1990, Channel Zero pushed themselves into world recognition across the next seven years through their potent groove infested thrash sound. The period saw four well-received albums with Unsafe of 1994 and Black Fuel two years later especially acclaimed, whilst in between those particular releases and amidst a clutch of successful EPs, the band played around the world, touring with the likes of with Megadeth, Danzig, and Biohazard as well as playing numerous major European festivals. 1997 though saw the band call it a day but fevered support for the band from fans continued, eventually going some way to persuading the band to get together and return with a one off live performance at the Ancienne Belgique in Brussels. That was the plan but with the show sold out in a minute, the further five added devoured in less than two hours, and the shows all a major success, the band in many ways had no choice but to unite for a full return. Fellow founders, bassist Tino Olivier de Martino and vocalist Franky De Smet Van Damme alongside Baheux and newcomer guitarist Mikey Doling (ex-Soulfly), who replaced original Xavier Carion, after a series of singles created and unleashed their fifth album. The 2011 Logan Mader (ex-Machine Head, Soulfly, Devildriver) produced Feed ‘Em with a Brick was wrapped in praise by fans and media alike, putting the band back on the front foot though the sad passing of Baheux from a rupture of an artery in 2010, made the band contemplate stopping again.

Thankfully Channel Zero decided to carry on in honour of their brother and last year set about working on Kill All Kings with again Channel Zero - Kill All KingsMader. With Roy Mayorga (Stone Sour, Soulfly) providing the drums for the recording, the album is a fitting tribute to the memory of Baheux and a new chapter in the sound and future of the band. From the opening Dark Passenger, band and release ignite ears and imagination, with feet and neck muscles in close order. Guitars rustle up a sonic mist and a portentous atmosphere before erupting in tandem with crisp punchy beats and jagged riffs, into a transfixing heavy stride. Bass and guitars carve out a magnetic lure, the first especially gripping with its throaty predation, whilst the rhythms swing with sinewed urgency as the excellent voice and delivery of Van Damme roars with an appealing growl and melodic enticement. There is nothing dramatically new about the song in respect to its seeding genre but still makes a compelling and anthemic introduction to light ears and emotions easily.

There is also an immediate and understandable emotive passion to the track, especially vocally, which just as potently spices up the following Electronic Cocaine. The initial winding embrace of acidic grooves and meandering basslines leads a ready appetite into a slower but no less captivating stroll of rapacious riffs and vocal coaxing. It is riveting bait which lays down the perfect terrain for the contagious and gloriously alluring chorus to break out from. The exceptional song continues to stomp and sway, entwining both within its inventive melodic casting and rhythmic incitement to prove an imaginative and imagination sparking treat which is swiftly matched by the more voracious Burn The Nation. Beats and riffs are antagonistically besieging ears from the start, vocals soon employing their own animosity lined encouragement to thoughts and emotions. As its predecessor, the track embraces a melodic toxicity which is as drawing and gripping as the insistent rhythms alongside a great bass sculpted lure.

Both Digital Warfare and Ego keep the album in the heart of eager attention and greedy hunger, the first fuelled by an old school thrash rapaciousness bringing thoughts of Exodus to the fore whilst its flirtation of grooves and drama clad invention creates a rich incendiary hue for the core of the song to charge masterfully through to seduce the passions. It is another scintillating proposition which is matched by the emotive prowl of its successor with its Metallica like gait and fiery resourcefulness in melodies and rhythmic agitation. As with all of the major peaks across the album, it is the impossibly contagious and invigorating anthemic potency of the track which turns excited embers into flaming ardour, a vibrant bed stoked further by the strong guitar craft and imagination aligned to intriguing inventive adventure.

Across Crimson Collider and the title track, the album seems to settle into a more emotionally driven but less openly exploratory premise. The pair of tracks certainly retaining the album’s grip on thoughts and emotions with ease whilst treating ears to powerful and creatively magnetic propositions but the spark of adventure is lessened by a more expectations feeding aspect to the songs, that safe feeling mentioned previously washing over keen hopes. To be fair both tracks do have body and mind caged within their infectious designs ensuring pleasure and involvement is still leading reactions, though even that meanders a little with the imaginative but ineffective balladry of Brother’s Keeper.

Things move in the right direction again with the predatory stalking of Army Of Bugs if without sparking a riotous hunger, the bass and scything riffs especially alluring alongside the great malevolent growl crawl of Van Damme’s delivery. It is a compelling and enticing track which triggers an expulsion of and return to the gripping unpredictability and instinctive adventure which started the album off. Mind Over Mechanics bristles with muscular confrontation and rhythmic demands to enslave ears and thoughts whilst a sonic web from the guitars courted by melodic flames, colour song and emotions with a rich fascination and enjoyment. It is a formidable provocateur with addiction forging properties just as the following tempest Duisternis. Sung in his own dialect, Van Damme seduces and cages ears in a blistering weave of vocal temptation wrapped in a similarly enslaving bass taunting and riff nagging. With rhythms a concentrated swing of primal rabidity, the track is raw voracious metal at its.

The closing Heart Stop brings the album to an ear capturing conclusion if again not quite matching some of its fellow storms on the album. Like Kill All Kings as a whole though, there is an underlying potency which refuses to let attention and rich satisfaction waiver and look elsewhere, its emotive drama as pungent as the creative skills at work. It is a fine end to an excellent album, not a release to set new standards but an encounter to place Channel Zero back to the fore of European thrash and more importantly to provide one of the most enjoyable metal albums this year so far.

Kill All Kings is available via Metal Blade Records now!

www.channel-zero.be

8.5/10

RingMaster 25/06/2014

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Chronosphere – Embracing Oblivion

ChronosphereBand

2014 has already been flush with some impressive and more importantly thrilling thrash metal releases, some old school bred and others sculpting the new penchant for fusing thrash with death metal and other styles. Somewhere in between comes Embracing Oblivion, the exhilarating new rampage from Greek metallers Chronosphere. With adrenaline driving relentless through every vein making up the ten-track avalanche of insatiable thrash baited ferocity, the album is an exhausting and exciting confirmation of a promise already laid from the band previously but now aligned to a new plateau of inventive hostility and mouth-watering creative tenacity. Arguably the release is not casting explosively original persuasions but with ease Embracing Oblivion stands to the forth of the emerging modern twist of Bay Area spawned thrash metal.

The beginnings of Chronosphere started in 2009 when vocalist/guitarist Spyros Lafias formed the old school thrash fuelled Homo Sapiens. The demo Hypnosis came out the following year as well as several line-up changes which subsequently led to the union of guitarist Panos Tsampras, bassist Kostas Spades, and drummer Thanos Krommidas alongside Lafias. The band’s reputation has grown constantly through their live performances which over the years has seen them share stages with the likes of Rotting Christ, Suicidal Angels, and Evile as well as various festival appearances such as Metaldays and Wacken Open Air. 2011 saw the band begin working on their debut album Envirusment, an attention grabber which was released as Chronosphere via Athens Thrash Attack in 2012. Acclaimed and drawing world-wide attention its success is now set to be left behind in the wake of Embracing Oblivion and its explosive might.

The concussive entrance of Killing My Sins awakens attention and appetite within seconds, guitars and rhythms cascading venomously ChronosphereCoverdown on the senses before settling into the casting of predatory riffing and antagonistic beats. It is a dramatic and gripping torrent of intent and sound driven forcibly by the excellent vocals of Lafias supported anthemically by the shouts of Spades and Tsampras. The song is a ravaging onslaught but also a tempest which has the guile and deception to slip into moments of stalking rapaciousness and respectful intimidation, though it is only to un-cage a scorching solo before reasserting that savage and exalting furnace of intent and aggression.

The exceptional start is swiftly matched by One Hand Red Per Saint, again an insurgent proposition from its first breath. Riffs consume ears with an edacious hunger and rhythms unleash a cage of battering animosity, both expected in many ways and pleasingly welcomed but it is the inventive twists and imagination deviation to the core formula which ignites the passions most impressively, those and the ever successful vocals. Already within two songs there is an unpredictability infused into the assumption feeding base charge of the encounters which sets the band apart from the masses and flirts wantonly with the imagination for a full and eager submission, the next up Force Fed Truth equally as effective and ingenious in its presentation. It all makes for a familiar and refreshingly new twin attack from the album, one which simply does not fail in winning an ardour wrapped reaction.

The third song is debatably more expectations feeding than its predecessors but still a thoroughly electrifying provocation before making way for the merciless temptation of Brutal Decay. With a great vocal deviation to its narrative at times and a new intensity of urgency and energy beneath the spiralling casting of guitar and their sonic endeavour, the track is a galvanic onslaught which is anthemic in its recognisable seeds and dramatic enticement but littered with shards of often brief but scintillating invention. The guitar prowess once more lights a blaze of impressed appreciation whilst drums and bass continue to inspire a new strain of hunger for their enterprising voracity.

Things step up another notch with the intoxicating Frenzied From Inside, Lafias and guitars weaving further rousing ideation and breath-taking toxicity into its wonderfully hellacious rampage, whilst the next up Herald the Uprising instantly has the passions eating out of its hands with the opening rough carnivorous bassline, bait impossible not to get carried away over. It leads the ears into a furious pleasure of bad-blood veined enterprise and virulent anthemic beauty, the vocals as magnetic as the flesh chewing riffs and citric touch of the razor sharp cuts from the tantalising guitars. It is an enslaving enticement as potently matched by the scything rhythms and the persistently masterful bass sound, not forgetting one fire soaked solo.

The album continues to inspire hungrier and greedier responses as City of the Living Dead backed immediately by Seize Your Last Chance hold ears and imagination spellbound, the first a haunting and sinister examination which simply engulfs the listener in caustic sirenesque predation and its successor a more concentrated preying of the psyche. One very happy to un-cage an epidemic soaking of barbarous rhythms and similarly inhospitable riffs wrapped in a bewitching grooves expelling exceptionally addictive sonic invention.

The album comes to a close with the bestial brutality and muscular beauty of Beyond Nemesis, a thunderous pugnacious treat of an antagonist, and the melodic metal spawned blaze of craft and ferocity that is The Redemption. Both songs again expel an invention and creative adventure which leaves anticipation for more in the future as full as the satisfaction and pleasure embraced. There are a couple of minor moans which could be placed before Embracing Oblivion, well one really which is the similarity of many tracks across their strong surface which requires extra attention to look through, but that focus is rewarded with that gripping invention and devilry so really it is just an observation which probably will work itself out as the band evolves organically. Chronosphere is another band taking modern thrash to new heights without losing its source and providing impressive highlights in a busy year for the genre.

Embracing Oblivion is available via Punishment 18 Records now!

https://www.facebook.com/ChronosphereGr

9/10

RingMaster 16/06/2014

Copyright RingMaster: MyFreeCopyright

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Axegressor – Last

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Thrash metal with the hostility and ravenous jaws of a rabid horde is the bestial sound which roars away in the hands and skills of Finnish metallers Axegressor, epitomised and taken to its strongest level to date on new album Last. The nine-track fury is an exhausting and thrilling onslaught of passion and thrash rabidity, maybe an encounter so well seeded in its inspirations to lack a strong vein of originality but holding an invention and craft to its contagious ferocity which easily make the band stand apart from the rest and pushes them towards the frontline of the genre.

Formed in 2006, the Turku quartet of vocalist Johnny Nuclear Winter, guitarist Seba Forma, bassist/backing vocalist Aki Paulamäki, and drummer Atte Mäkelä took influences from authentic thrash metal into their own ideas, impacted upon by bands and sounds they had been listening to since their teens. Alongside that flavouring, experiences from ten to fifteen years playing in various metal bands adds to a mix which is impressively accomplished and exciting as evidenced by the new album. Over the early years the band grew a potent and increasingly growing fanbase and reputation in their homeland, helped by shows supporting the likes of Dark Tranquillity, Legion of the Damned, Onslaught, Soilwork, and Municipal Waste. At festivals too the band has only done themselves good whilst previous albums, debut Command and its successor Next in 2007 and 2011 respectively, after first EP Axecution a year into its life, confirmed and accentuated the impact of the emerging Axegressor. The Listenable Records released Last is the band’s greatest moment so far and the expected trigger for the band to much bigger things.

From the opening Freedom Illusion, band and album has attention and thoughts engrossed and eager to explore the voracious cover_lenticements ahead. Heavily striding riffs and sinew swung rhythms engulf ears first within which for the first and definitely not the last time the great savage predatory sound of the bass thrills and bewitches. It is a formidable and commanding start, nothing flash or explosive but everything that is compelling and anthemic for appetite and passions. Once the vicious rasping vocals leap from the shadows a switch is flicked and energy and tenacity is lit up as the track charges with teeth bared and aimed for the jugular of the senses. It is a seamless and captivating move, accompanying group shouts and the sonic invention of the guitars irresistible. The song continues to mix up its gait, at times swamping the body like a swarm of insidious hornets in sonic flight and at other moments prowling around with a bear like intent weighing up its next move.

Lead Justice rips at flesh next, in top gear from the first second scything through air and bone with its rhythms and searing flesh with guitar rapaciousness. As the first, the track is an incessant persuasion badgering and impressing for an early submission with its tremendously gripping bait. A certain drama also walks the edge of the narrative, primarily sculpted by the exciting bass sound and the vocal causticity, the result with all combined a continuation of the striking presence of the album and ignition of an even keener hunger in the listener, a greed soon satisfied by the blistering Mind Castration. Riffs and rhythms as expected, shape the fury of the song from the first moments, carving out their temptation from within the sonic flume marking the first surge of the track. Once more there is an insatiable thirst to the elements of the song which simply nags from start to finish with repetitious and contagious efficiency, a suasion upon which vocals and melodic enterprise wrap their toxic exploits. It is a riveting adventure, a constant aggressor clad in sonic finery and creative distinction from those around, as all songs on the album to be fair.

Things are kept ticking over very nicely by Merciless Reality Check, a track which is nastier and more intensive than those before but lacks some of the spark. Nevertheless it is a pleasing and exciting incitement before the furnace of spite that is 15 unleashes its venom on the senses. Rhythms and riffs collude in a maelstrom of antagonistic and malicious endeavour from the off before aligning into another single minded but unique rampage. Malicious and hypnotic, and wholly infectious, the track is an invention clad predator which surges and twists throughout its tempestuous presence, a roaring proposition and soundscape for which battlefields and nightmares were invented.

Intensive examination is the order of the day once Social Pressure unleashes its punk infused tsunami of incitement and beleaguering enterprise. The track tunnels deep within ears and skin, hooks and grooves as pestilential in their epidemic contagion as they are malevolently seductive. Axegressor have mastered the art of creating repetition fuelled beauty with no finer an example than this monster of a track soon matched in its own unique character by A Fistful Of Ignorance. Delivered in a more predacious crawl than the outright onslaught of the previous track, it massages the senses with heavy handed riffs and that carnivorous bass persuasion to impressive effect before inserting its own transfixing and determined urgency.

The closing pair of Command To Last and Determinator ensure brakes are untouched in their tumultuous and varied deliveries, the first a constantly belligerent gallop with moments of unbridled aggression and the last an uncompromising heavy metal stomp around a thrash cored ferocity which may not match earlier successes but leaves the album in a thrillingly healthy state.

Last is an exhilarating encounter and though as mentioned it arguably uses well wore seeds, there has been few bands producing a sound anywhere near this good and uncaging releases as enjoyable within thrash metal over recent months and longer. A must check out release for all thrash and punk metal fans.

Last is available via Listenable Records in Europe now and in North America on June 24th.

http://www.axegressor.net

9/10

RingMaster 10/06/2014

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Ashura – Mindhood

AshuraBand

If you are looking for something not especially original but is thrash metal in its most exciting and virulently contagious form then checking out Italian metallers Ashura and their debut album Mindhood is a must. Consisting of eight tracks which simply rage with energy and skilled aggression as well as unbridled revelry, the release is a mouthwatering charge of adrenaline driven metal with a very healthy essence of punk to its thrash bred voracity. As mentioned the quartet from Vincenza is not rewriting the book and template of their genre but on the evidence of their first full-length they are undeniably giving it a fresh and invigorating surge of prime rabidity.

The seeds of the band began back in 2011 when the brothers Gastòn (vocalist) and Luciano Gordillo (bassist) decided they had enough of playing covers and wanted to write and strike out with their own original adventures. Working and searching hard for the right mix, things suddenly sparked into place with the addition of guitarist Enrico Cavion in 2013. Calling themselves Ashura, the band recorded demo EP Vengeance of Blood in the March of that same year. It was released mainly through their gigs to great responses which in turn encouraged the band to go ahead with a heftier and more serious recording. Before then the line-up was enhanced by drummer Matteo Snichelotto joining the band, successful live shows bedding him in before the studio beckoned for the recording of Mindhood. Since then Ashura has signed with Earthquake Terror Noise for the album’s release and seen the joining of Gianluca Poppi (Guitar) and Giacomo Orlando (bass) to the band.

The release opens with Reap What You Sow and from a distant perch an initial glaze of heavy metal guitar which is soon joined by a AshuraCoverpotent coaxing of anthemic rhythms and a dark throated bassline. It is instantly magnetic bait which continues to work on the imagination as the guitars close in all the time expanding their fiery flames of melodic suasion. The track is soon rampaging head down across the senses into the passions, bruising and inciting with all its strength before relaxing into a sonic web of enterprise. It is a momentary respite though as the track erupts into a predacious onslaught once again to the entry of the roaring vocals. It all combines for an excellent slice of thrash antagonism with a Bay Area breath and heavy metal guile aligned to at times a speed metal urgency and punk rock rapaciousness. There is a definite familiar tone to the tempest, many of the prime genre names coming to the fore at certain times, but also plenty of twists and wanton revelry which marks sound and album out as something attention grabbing. With only the vocals a weak spot in the latter stages of the song, the holding of notes not always Gastòn’s strongest point, it is a tremendous introduction but one right away left standing by its successors.

Both Bhopal-ToxicViolence and Vengeance of Blood take the release to a greater plateau. The first immediately offering a darker snarl and weight to its predatory emergence, bass and drums again intimidating intensive lures whilst the guitars scythe through their thick threat with surging riffs and toxic grooves. It is little time before the prowling gait of the song is a virulent blaze of furious energy and intent which easily recruits full allegiance to its addictive enticement, a success in no small way down to the raw punk growl and savagery at the heart of the track and the infestation of thrash sculpted provocation. Group calls, stomping rhythms, and the lead vocal groan all add to the compelling weave, with the outstanding carnivorous bass sound from Luciano simply irresistible. It is a masterful breath-taking ravaging which is right away matched by the second of the two, again riffs and rhythms torrential examinations of the senses and imagination whilst the sonic flare and vocal confrontation of the song roars and ensnares the passions further. The opening trio of songs alone show all the bulging potential within Ashura and the last two the direction personal satisfaction hopes they follow, their merging of the most predacious and inhospitable essences of thrash and punk a scintillating triumph in the band’s hands, especially here where the full skill and imagination of the guitars is allowed to paint the battlefield below in unique colours.

In God We… Dust! enters on a single melodic caress, a tantalising tempting of emotive beauty which is soon courted by the dark resonance of the bass. It is hard to avoid thinking of Megadeth/Metallica at this point, even as the energy whips up into a controlled frenzy, the sonic endeavour and subsequent charge of riffs wearing their influences on their sleeves. It is the pleasing turns of invention and the rapidly shifting delivery of energy and attack which stops the song becoming something predictable and unsurprising though, its creative canvas another treat to devour greedily.

The shadow drenched bass draw bringing Heritage into view next is another lip licking start but not really a clue to the almost underwhelming straight forward thrash riot to come. There is plenty to feast eagerly upon within the song to be fair, veins of melodic incitement and rabid rhythms as well as an unrelenting tide of flesh stripping riffs all meaty flavours but the track as accomplished and enjoyable as it is feels formulaic at its core and lacks the spark of its predecessors. In some ways the same can be said about V2 which comes after the 19 second title track which is just silly and unnecessary where it is. As a hidden track it would be a laugh and raise a smile but in the middle of great songs it is a moment to pass by without stopping on the way to its successor. V2 leans more on the side of heavy metal, guitars and vocals revelling in the scenery as they unveil imaginative and raucous persuasions respectively. It is another song which does not inflame thoughts and emotions as the early tracks but undeniably leaves them and an ever satisfied appetite caged by its fluid and incendiary enterprise and passion.

The album also offers bonus track Venganza De Sangre, a thoroughly enjoyable squall of thrash irreverence and fierce heavy metal hues which if not a live cut was recorded live to great effect. The song makes a stirring conclusion to a strong and highly satisfying debut from Ashura. Such its craft and energy not forgetting unbridled contagiousness, it is very easy to overlook the lack of real originality within Mindhood but not the rich promise of the band. We expect big things and releases from the band ahead.

Mindhood is available via Earthquake Terror Noise @ http://www.earthquaketerrornoise.com

http://www.ashuraband.com/

8.5/10

RingMaster 28/04/2014

Copyright RingMaster: MyFreeCopyright

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Arcania – Dreams Are Dead

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It is hard to know how much of a secret or renowned French band Arcania is in their homeland but outside their borders it is probably fair to say that the quartet is still an undiscovered treat. But that could and should be about to change with the release of their striking second album Dreams Are Dead. A stirring and thrilling brew of multi-flavoured thrash with just as rich essences of progressive metal aligned to darker extreme tendencies, the twelve track creative riot has the potential and weaponry to thrust the band into a far brighter and wider focus. It is a proposition which offers enjoyable familiarity but also inspiring and refreshing invention to make it stand out from the crowd. It is an album which though not flawless also gets more addictive and anthemic with each and every encounter giving evidence to Arcania being one of the really exciting emerging propositions.

The band began in 1999, formed by vocalist/guitarist Cyril Peglion, bassist Guillaume Rossard, and drummer Gabriel Georgelin. A couple of demos followed as the band grew in presence but it was dealt a devastating blow with the tragic death of Georgelin. The trio regrouped and decided to carry on, their debut self-titled EP being released in 2004 to great responses. Numerous line-up changes occurred over the years before in 2008 guitarist Nicolas Alberny joined the band which was followed by the recording and release of first album Sweet Angel Dust a year later. Again the release was well-received and led to the band sharing stages with the likes of Gorod, Kronos, Trepalium, Ultra Vomit, Black Bomb, and Born From Pain as well as playing festivals such as Hellfest 2012, ), Motocultor, Hell’Oween Fest, and Les Metallurgicalles. The departure in 2012 of Alberny to join Gorod saw the entry of Niko Beleg into the band, the line-up which entered the studio last year to record Dreams Are Dead.

The album’s Intro is as so many other bands seem to open up their albums with, an orchestrated epically rising portentous piece of music and very appetising; a start which despite its lack of originality brings a twinge of excitement and anticipation to an already awoken appetite. Its chilling haunted close is instantly swamped by the fiery start of Watch us dying, guitars and rhythms launching themselves at ears with urgent voracity. The track immediately has attention enslaved and senses under-siege before settling into a more ordered sonic and rhythmic tirade driven by the excellent vocals of Peglion, his great tones almost sand like in texture and invasiveness. The energy and attack of the encounter never relents in force and hunger yet embraces inventive guitar enterprise and a great almost schizophrenic design from the drums of Olivier. Arguably there is nothing new on offer but boy is the track gripping as it sets up the listener for the brilliance of next up Rise and never fall and the album as a whole.

The third track also has no intentions on making a gentle coaxing, every element of the band and sound cascading down upon the senses Arcania-Dreams-Are-Dead1-e1398358060555like an avalanche. Virulently seductive grooves wind from within the invigorating tempest alongside wiry hooks and shorter lures from the guitars. It is a rigorously magnetic enticement beneath an exacting tsunami of rhythms which as the vocals unveil their narrative, ignites the imagination like a mix of Slayer and Bloodsimple. Peglion mixes up his delivery throughout though saving the best of his lures for the roaring chorus which is led into by a great guttural expelling of malevolence. Musically the track matches his delivery in crescendos and potency but adds compelling flames of sonic invention and more of those deviously addictive grooves. It is a glorious track and no surprise that it is the one leading most into band and album right now through its video.

The following Face in the Mirror has a darker breath and face to its initial provocation but one which is tempered by restrained but certainly predatory riffs and melodic intrigue. The chorus as with its predecessor’s, provides an anthemic contagion whilst the twisting landscape of the track enthrals and sparks thoughts as a new wave of hunger hits passions already lit by the album. Its reinforcing of the strengths of band and album already impressively paraded is matched by Dreams are dead, whose arguably stronger progressive intent and adventure brings further rich hues to the release. Though not always given as much clarity as in this track, the technical aspect of the sound across the album is as riveting as all the other inciting colours and here forges an almost mesmeric temptation within the storm of the forcibly evocative song.

Another pinnacle is sculpted with next up Inside the crowd, a blistering suasion which from its fiery and earthy start suddenly whips out impossibly infectious and addictive strains of guitar forged toxins. They are honed into delicious short grooves courted by climactic riffs which in turn are aligned to ridiculously catchy and anthemic vocals from Peglion and the band. The track continues to pull out twists and turns across its scintillating creative body, each move unpredictable but seamlessly masterful and soaked in contagion whether marching with almost military precision over the senses or unveiling an atmospheric elegance and emotive expression. There are moments the track brings thoughts of October File to mind but it is a wholly unique track which takes best song honours

The breath-taking instrumental Dreams end all days floats in next to show another impressive element to the band and its songwriting. Nearing eleven minutes the piece is a mouthwatering adventure giving the imagination and emotions a wealth of melodic colours to paint their own evocative canvases with, to which the guitars add their poetically skilful and inspiring hints. For personal tastes the song is too long for where it is upon the album as before its finale you are locked in an urge to investigate the next track. It would have made a sensational closer for the album but with another instrumental waiting there, it is where it is.

Both Suffering for an answer and Scar in our mind keep things burning brightly for Dreams Are Dead though neither matches what comes before them. The first of the two carries a slight Testament feel to its more melodic classic metal air, within which vocals and the whole design of the track from rampaging rhythms and throaty bass enticing to the constantly developing weave of guitar emprise captivates. It lacks the same unpredictable element though which pushed earlier songs into something startling but despite its really annoying fade-out the song is a richly pleasing encounter. Its successor rides a thunderous tirade of beats before the guitars unleash ear smothering flames of caustically melodic rapacity, a proposition which again deeply satisfies without lighting fires.

The closing Days ends all dreams is a sultry smouldering finale to the release, again impressive in its craft and expression but easily second best to Dreams end all days. Personally putting it aside for another release, though it makes a good book end to the intro, and closing with the first instrumental would have been more successful. Nevertheless it makes no difference to the success and immense pleasure unleashed by Dreams Are Dead, the album a powerful wake-up call to the world to the presence and might of Arcania.

Dreams are dead is available via Great Dane Records now!

https://www.facebook.com/pages/ARCANIA/214904209725

8.5/10

RingMaster 23/05/2014

Copyright RingMaster: MyFreeCopyright

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Rage of South – I See, I Say, I Hear

RoS

Unleashing their presence to a wider audience with the release of debut album I See, I Say, I Hear, Italian metallers Rage of South show themselves to be a highly enthralling proposition with the potential to make major inroads into the metal scene with their fiery creative sound. Merging the voracity of thrash metal with the inventive twists and nuances of nu-metal, with plenty more flavouring the brew, the Sciacca quartet captivate the imagination from the first minute of their full-length to its dramatic last. Arguably the band does not really create anything powerfully new for ears though their songs twist and challenge more often than not in a fresh and vigorously provocative way which sets band and certainly the album out from the crowd.

Formed in 2006, Rage of South consists of Tano (vocals/ guitar), Leo (guitar/chorus), Salas (drum), and Smoke (bass/ chorus) and emerged from the Read Only Memory project, a cover band in the early part of the last decade. Turning to work on their own original music alone, the members released their first EP South before changing their sound and intent into a new direction, the moment when Rage of South stepped forward. The release of I See, I Say, I Hear follows a successful year in 2013 which saw the band play the Rock Metal Fest in Taranto, chosen as one of five from 140 emerging bands across Europe. Signing with Red Cat Records for the release of their album, Rage of South looks like making this year just as potent and successful, the release’s strengths and exciting presence holding all the promise to break into a wider, stronger attention.

From the short provocative Intro, the band instantly takes a grip with Sheep as thumping rhythms, gruelling riffs, and antagonistic 632851d6a5e0ef80dc04b7c881d7730eenergy unleash their compelling suasion on the senses. Vocally too the song provokes and incites with craft and passion, their coaxing as impressive as the rigorous and aggressively inventive sounds around them. The song lurches and stomps from start to finish, sinews barracking and nostrils flaring as the intensively driven nu and groove metal fusion violates on a thrash bred urgency whilst sonic enterprise wraps its toxic tendrils excitingly around the whole things.

The immediately punchy Silence continues the impressive start, riffs and grooves again casting a contagious impacting mesh which rhythms and bass intimidate and darken respectively. As with the first song essences of bands like Korn whisper loudly within the tempestuous brawl of sound and animosity but with the rhythms rampaging at certain times with bestial intensity and guitars matching their predacious fury, the track is a constant exhilarating predator, an enthralling encounter matched by the following Prayer. Unveiling an acidic web of guitar to cage attention the song reveals itself a less forceful encounter, passing through captivating melodic scenery with similarly reflective and emotive vocals. It still involves rigid rhythms and rapacious colouring from the guitars and bass but with a pleasing sonic skill and imagination from Leo it is a different kind of an absorbing encounter.

Both Stay Down and That Fear About Me keep thoughts and appetite enslaved, the first though not as striking as the previous songs providing a constantly shifting and persuasive landscape of thought and creative incitement whilst the second almost preys on the listener, prowling and taunting ears and psyche with roving rhythms and entwining sonic endeavour within a caustic and pleasingly raw bluster. Again the song is in the shade of those first few songs but still adds more to the potency and promise of album and band, as does the harder lipped Reflection with its seemingly irritable rhythms and blazing riffery, complemented by just as assertive vocals. The song borders on belligerent as it holds ears and satisfaction in its rewarding hands, scolding and seducing with impressive design.

The wonderfully niggling groove and spite of The Falling Down brings the return of the very lofty heights of the album, the guitars sculpting a corrosive net of sonic animosity aligned to punishing rhythms to which the band’s imagination brings its own excitingly textured ideation. The song is a bewitching protagonist revealing more of the undeniable promise of the inventive band.

     Theme of Juliet provides a rigorous melodically bred slice of accomplished and vivacious multi-flavoured metal before the opening groaning riffery of Let Me Die takes over to forge another major pinnacle upon I See, I Say, I Hear. Instantly the guitars are grinding their toxicity into the senses, swiftly raising new hunger in the appetite as its narrative emerges whilst rhythms add their distinct weight to the persuasion alongside a heavy throated bass line. It is the nagging intrusive grooves though which steal the show, their toxins permeating every synapse and thought to ultimately seduce the passions for the best moment on the album.

Closing with the mutually outstanding Approved, another track scything through the senses with sharp infection soaked grooves and unpredictable invention, the album ends on a massive high equal to the way it started. Certainly there is more to come from and more for Rage of South to find to truly become a distinctly unique prospect but as proven by the immensely enjoyable I See, I Say, I Hear, they are well on the way.

I See, I Say, I Hear is available via Red Cat Records now!

http://www.rageofsouth.com/

8/10

RingMaster 17/05/2014

Copyright RingMaster: MyFreeCopyright

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Hidden Intent – Walking Through Hell

Hidden-Intent-Band

Never short of an appetite for well-crafted and ferociously passionate thrash metal it is fair to say that it was easy to find an eager taste for Walking Through Hell, the debut album from Hidden Intent. Eleven tracks which embroil the senses, the release is a pungently addictive and contagious encounter. It is an encounter where arguably dramatic originality has taken a break and the tracks at times hold too much similarity amongst themselves to stand out as potently as they should, but nothing defuses the thrilling and rabid presence of the album and its unbridled persuasion on thoughts and passions.

Hailing from Adelaide, South Australia, Hidden Intent began early 2011, formed by bassist/vocalist Chris McEwen (Abyzmal, Troops of Doom, Obsidian Aspect) and lead guitarist Phil Bennett (Desert Eagle, Metallica Black Album Tribute, Iron Maiden Tribute). After the loss of their original drummer and an intensive search, Jay Rahaley (Blood Mason, Treachery) was recruited to the ranks of the band, a stability which has maybe not by chance seen the band emerge as a stronger proposition outside of their locality and homeland. Inspired by the likes of Metallica, Megadeth, Slayer, Iron Maiden, and Sepultura, it is maybe no surprise that their sound is steeped in old school thrash metal, heavily seeded but still with enough invention and imagination to bypass predictability and provide a compelling encounter. Last November saw the band release Walking Through Hell but it is now with its wider release through Punishment 18 Records that the band could and should find a ravenous new market.

Starting with Confession, basically a sample from the film American Psycho, the album takes a proper grip on attention and thoughts HiddenIntentCoverwith the following title track. Stabbing air with crisp strikes of drums and riffs it is a potent start but it is the rumbling throaty crawl of the bass which first excites. Its dark menacing tone persist its stalking across the subsequent even paced tempest of riffs and drum antagonism which surrounds the ears. The vocals of McEwen are enjoyable and eager, if at times unpredictable, but it is his bass offering which steals the passions early on, though that is soon challenged by the excellent flume of grooves which writhe within the predacious crawl and charge of riffs which switch persistently across the song. With a great guitar solo flaming as a greater rabidity spills its hunger, the track is an enthralling and thrilling introduction.

Through Your Eyes swiftly picks up the baton, taking a measured approach before launching into another surging torrent of voracious riffs, punishing rhythms, and richly barbed hooks. Little additives like resonance, sonic seducing, and combative increases of energy ignite the tracks uniqueness but for the main the body of the song is similar to its predecessor and gratefully consumed before Betrayed stalks ears and imagination. It opens with a steady intimidating gait but is soon chugging along as the vocals unveil their feisty narrative. Though it is not the most memorable track on the album, in its company it is impossible for neck muscles and body to resist its sinewed temptation and infectious if volatile charm. What is memorable is the additional sinister and atmospheric bass led piece of intrigue springing straight after the song, an unnamed instrumental between tracks which offers a delicious respite which is needed to give the imagination a different exploration and body time to take a breath.

Both Die Inside and Good Friday Thrash push riveting guises around the recognisable core thrash sound, the first bringing swiping vocal calls and greater incendiary grooves into the gallops of riffery and rhythmic entrapment whilst its successor almost preys as it skirts of the senses initially, though the urge to release the handbrake and bring an urgency to its predation is eventually too much to hold back. The pair enthrals and impresses with a mouthwatering array of bass and guitar imagination, those elements we mentioned which make the band stand out without breaking into new pastures finding their most irresistible bait, certainly within Die Inside.

By this part of the album songs merge a little though enjoyment is just as high, and you occasionally find yourself simply looking for differences rather than enjoying the moment. Get What You Can Get thoughbrings tight and ridiculously addictive grooves to its thrash armoury whilst Face Your Demon and Creature of Habit unleash a disputatious confrontation and roving grooves respectively all adding to the enticement of the constant hunger confronting the release.

Closing on the exciting temptation of Black Hole, the track a strike of gripping invention and urgency and probably the most original song on the album, Walking Through Hell is a masterful riot of thrash metal. Yes it lacks true originality and some songs work better away from the body of the album rather in the wash of familiarity which coats the release but it has to be said it is one of the most enjoyable and exciting thrash albums this year and probably last, and those bass and guitar moments alone just feed the strongest desires.

It is easy to expect Hidden Intent to make a big break-through in the near future, and more of the same would do very nicely.

Walking Through Hell is available now through Punishment 18 Records and @ http://hiddenintent.bandcamp.com/album/walking-through-hell

https://www.facebook.com/hiddenintent

8.5/10

RingMaster 28/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Dark Century – Murder Motel

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A release which can just as easily raise a wide grin as it can an urge to go violate something, Murder Motel is an exhaustive and exhilarating corruption from a band clad in imposing and compelling devilry. Dark Century comes with a potent buzz behind them and their new album easily reveals why as it ignites ears, imagination, and a greedy appetite for their fusion of death, thrash, grind with a viciously healthy course of hardcore. It is a release which has plenty in it to feed expectations but also comes with a just as rich soak of originality to thrust The Canadian quintet into a spotlight of its own.

Formed in 2001 by guitarist Martin Gendreau, Dark Century has built an impressive reputation and presence over the years around Montreal and beyond. It is a time sign-posted by their excellent and well-received debut album Days of the Mosh as well as a live presence which has seen them alongside the likes of Aborted, Misery Index, Quo Vadis, Rose Funeral, Exhumed, Fleshgod Apocalypse, Goatwhore, Origin, The Faceless, Battlecross, Fuck the Facts and many more as well as light up numerous festivals. With a new line-up Dark Century return with their monstrously towering new incitement, an album which puts the band on a new plateau. Produced by Chris Donaldson (Cryptopsy, Mythosis, Erimha, The Agonist, Derelict, Neuraxis) with Gendreau, Murder Motel is a storming onslaught from start to finish, a ravenous bestial proposition veined by incessantly riveting imagination and unpredictable twists.

     In Our Veins starts things off and is soon careering through the same network of the listener with riffs grazing every surface they can find and rhythms voraciously pummelling the senses. It is a ferocious start which aided by the raw thrust of the vocals and that rhythmic tsunami, only intensifies its assault the further into its destructive arms you sink. Drummer Steve Burns is exceptional from the off but also is the stringed ravishment from Gendreau whilst the slightly varied and excellent caustic tones of vocalist Leather King and the predatory bass incitement of Francis Lafrenière equally steal their share of attention and acclaim.

The fine start hits another gear with the following title track where again a mere breath is taken before a disorientating rhythmic assault and bass grilling consumes the senses. Little time passes neither before a swagger and violent swing to the track wraps its irresistible temptation around a by now rampant appetite, the track lurching over and provoking the emotions with mischievous designs and violent intent. Here as with a few songs there is something familiar to the proposal offered but it only eases the accessibility of the track for the eagerly offered passions. The solo from Erik Fernet-Evans is a plume of intrigue and drama to colour further the potent canvas of the song as it drifts away at its end for Torticolis to seize its portion of attention. Rabid and intensively imposing, the track grips with carnal intent and flesh savaging sounds, its breath toxic and riffery a torrential assault driven harder by the severity of the Burns’ rhythmic spite.

Knees might already be buckling at this point and senses cowering in fear but hunger for more is insatiable and fed healthily by the brief but intensive predation of Ice Breaker and the fearsome rage of new single Kill The Crowd. The latter’s touch is as violent and scarring as anything heard before on the album but is aligned to a masterful persuasion of heavy metal coaxing and hardcore ravaging. Add the irresistible swinish grind twists and vocals plus the teasing cowbell, as well as the horde chants and you have another irrepressible capture of thoughts and emotions, but one exceeded even more by the brilliant Dead Birds. It is one of those addictions impossible to shrug off with the track from its anthemic rhythmic entrance stamping its authority over ears and excitement, crowding and preying on the senses with primal riffs and vocal voracity. It is just one of the structures ready to subjugate the passions, a heavy intensity laden consumption taking its sizeable portion of the adventure under its control just as firmly as the underlying but easily detectable excitable grooves have their appealing say.

   The four second Trio du Bûcheron comes next and there really is little to say about it. Neither working as an intro nor making any impact being so short, it is just there before both Cholestérol and Chloroforme cast their severity over ears. The first is another merciless gorging of the senses with piggish vocals, hellish rhythms, and a sonic weave of skilled enterprise igniting the otherwise pleasing if underwhelming song, in comparison to previous maelstroms. Its successor is similar in its presence, formidable and undeniably impressively crafted but failing to spark the same rapture. Nevertheless both keep band and album in solid control before the closing pair of firstly Mosh Test Dummies and the closing Gore On My Snare ensnare ears to inflame responses all over again. The first of the final two initially stalks and stares venomously at its recipient, its approach reserved but only for a deceptive moment as the song soon uncages its sinews and rigorous ingenuity to smother and savage all before its predatory strides. Its companion is pure blistering barbarity, everything from riffs to rhythms and vocals to creativity a masterclass of bloodlusting malevolence. It is demanding physically and emotionally making a scintillating conclusion to a tremendous provocation.

The album comes with recommendations that fans of bands such as Dying Fetus, Cannibal Corpse, Six Feet Under, Hatebreed, and Annihilator will get a hot flush from Murder Motel, but we suggest anyone with a lust for inventive and revelling extreme metal will find Dark Century a new best friend.

The self–released Murder Motel is available now @ http://darkcentury.bandcamp.com/album/murder-motel

www.DarkCentury.ca

9/10

RingMaster 19/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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