Birth AD – I Blame You

   

    Rampaging and snarling with a potency and aggressive attack which recalls the richest essences of the likes of Suicidal Tendencies, Black Flag, Municipal Waste, and S.O.D., US antagonisers Birth AD and their debut album I Blame You, is one riot to be in on at the earliest opportunity. Fusing hardcore, thrash, and the angry heart of punk, band and release unleash ferocity of attitude and sound which simply riles and ignites the senses in a welcome storm of destructive might. Part nostalgic, recalling the eighties pinnacle of their seeded inspirations, but forged with fresh 21^st century spite, the trio from Austin, Texas is an exhausting and fully invigorating confrontation and their album an equally thrilling adversary.

Formed in 2008, the threesome of vocalist/bassist Jeff Tandy, guitarist/backing vocals Brian Morrison, and drummer/backing vocals Mark Perry, took no time in becoming a bludgeoning and potent force across their home state, firing up a loyal and ever growing fan base. The following year saw an eleven-date tour of Japan as the band’s inaugural live outing as well as debut EP Stillbirth of a Nation, the release making an indelible mark on not only the local scene but further afield, which the new Alex Perialas produced album will only brand into the skin of punk and metal even deeper. Released via Unspeakable Axe Records, an offshoot of Dark Descent Records, I Blame You is a honed and instinctive furnace of passion and anger carved into mutually malicious and senses searing sound.

The eighteen track explosion gives no respite from start to finish, the flesh charring intensity of opener Mission Statement with its uncomplicated and forceful declaration starting the furnace of virulent sonic and emotive antagonism which holds its potency and strength right through to the equally barbed and lethally aggressive closer Blow Up The Embassy. In between there is no let-up but within the tempest of corrosive and barbarous fire there is as much diversity and violating enterprise as you could wish from a crossover thrash cluster bomb of violent energy and intent.

In nothing but highlights, maybe something of a surprise in an album of such a large number of tracks, the biggest peaks will focus the review but those not mentioned are only just behind personal preferences and as worthy as any other on the outstanding release. The brawling Failed State seizes the ear with a hurricane of vocal dispute with a repetitive barracking of the senses but it is the niggling grinding groove which steals the event, its insidious presence driving the force and brutality of the rhythms like a sadistic snake charmer. The track is the start of an especially impressive part of the album with its immediate successors Bring Back The Draft and This Scene Sucks also raising the fiercest fires within. The first of the pair consumes with a ravenous appetite and sonic hunger with samples of battlefields adding their energy to the controlling rhythms and scarring riffs, whilst the second taunts with a throaty bestial bass sound before expanding into a predatory and urgent assault with the vocals, singular and en masse, carving their own venomous and anthemic hooks into the irresistible presence.

Tracks like No, Man with its Dead Kennedys like hooked contagion and the title track continue the exhaustive but impossibly addictive lure of the release, the latter of the two barracking the ear vocally whilst a tight thrash lashing smarts but excites, probably more than is legally allowed, around them whilst the excellent Kill Everybody is as savage and uncompromising as the title suggests, the chorus especially a vicious assault to spark the strongest ardour.

Tracks like Wrong Again, No Jobs (Don’t Work), and Cause Problems, though failing to quite ignite the passions as those above, still leave nothing but a full on greed for more and the deepest satisfaction, something which honestly applies to every track on the release. Ok I Blame You is not breaking down new barriers for thrash, punk, or metal, but that is not the point of its existence, the band and album using existing armoury but tuning it with their own precise tools into a striking force which stands aside from most of the other similarly gaited aggressors. A mention for the excellent Parasites Die must be made, the song the emerging favourite here with its prowling groove and teasing stance coring an aural dogfight between sound and ear, of course there is only one winner.

If the likes of the bands mentioned at the top of the review are for you then open your arms for one exceptional collision with Birth A.D.

http://www.facebook.com/causeproblems

RingMaster 8.5/10

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Cultfinder: Black Thrashing Terror EP

Released as a limited run on 7″ vinyl through Eldritch Lunar Miasma Records, the three track EP Black Thrashing Terror from UK black metalers Cultfinder is a raw and venomous festering upon the ear. It is nasty, intrusive, and scrambles across the senses like a swarm of plague ridden vermin, but most of all it a compulsion intrusion which is very satisfying.

The band consists of a trio of blackened hearts from Farnborough in the UK, in the guises of vocalist and guitarist Rob Belial, bassist Necroskull, and drummer Wilbeherit. Formed in 2010, the trio released a self titled demo on cassette last year, the first introduction for a few to their old school black metal thrash sounds. Fronted by a Mark Riddick artwork clad cover, the release welcomes one into its black depths with a cavernous atmosphere littered with rasping verbal scrawls within the start of the title track. In moments a striding expanse of dawning guitar scorches the atmosphere, its sharp melodic surges restrained yet with a searing air upon the ear. Slow beats join the fray until the song explodes into a wanton rampage of crippling rhythms, suffocating riffs and serpentine vocals of sheer vehemence. The breath of the song is heavily oppressive even with its rampant assault and smothers any light within song and senses with craft. The groove of the song is more than beckoning and though one could not say the track is infectious there is certainly a pull which ensures departure is not permissible until it has delivered its last spit of venom.

The opening guitar blistering on Archangel Burial has a punk feel which really does not stray too far away throughout the subsequent sprawling fetid thrash tempest. The production on the release is at times muddy and arguably shows up more on this track, though it also adds to the oppressive consumption so no real complaints, the rawness and primal sound only adding to the experience. Like in the opener the vocals are caustic and scarring but with a give which allows the lyrical malevolence to come through. Barely three minutes long is the track an expulsion of everything evil and everything good in the creative arsenal of the trio, the best track on the release.

Witching Curse completes the intense violation with a shifting and inventive corruption. With elements of stoner metal hitching a ride on the brooding malice and pernicious storm, the track is a ferocious and corrosive onslaught. The rasping vocals are as abrasive as the sounds and makes for a track which is the best kind of vile and again wholly impressive.

Though generally old school black metal and to a lesser extent thrash does not grab our imagination as strongly as more hybrid deviations, Black Thrashing Terror is an impressive and thoroughly enjoyable release. It will be interesting to see how Cultfinder evolve ahead; for sure there will be many of us paying close attention.

http://unholycultfinder.com/

RingMaster 17/08/2012
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Lazer/Wulf : There Was A Hole Here. It’s Gone Now

It has to be said that the There Was A Hole Here. It’s Gone Now EP from Georgia band Lazer/Wulf is one remarkable release, a stirring and intriguing piece of songwriting and realisation. The EP, barely touching twelve minutes in length contains four tracks making one full, continuous, and evolving emotive experience which is individual to each who immerses themselves in its powerful presence. It is a release which no matter the original premise and theme which the artist represents with its sounds, instigates a personal vision and journey which changes and finds its own evolution the more one spends in its company.

Lazer/Wulf is an instrumental band who occasionally use vocals as another element not a focus. From Athens, GA, the trio of guitarist Bryan Aiken, bassist Sean Peiffer, and drummer Brad Rice, create an involved form of progressive metal fused with distinct and varied strains such as sludge, jazz, technical metal, and more. Their music is wonderfully unpredictable and impossible to bring any expectations to, except that from the evidence of There Was A Hole Here. It’s Gone Now it will be something unforgettable. Their sound is dense and rich in consumptive originality without becoming painfully intrusive, its heart and breath a perpetual trigger for individual thoughts and responses.

Originally a quintet the band has consistently grabbed strong attention through their live shows and striking releases, which led to them in 2008 being acclaimed Athens Band of the Year. 2006 saw their debut demo Demo-Lition! taking no time in making its mark in the ears of local music lovers, but the line-up changes, some enforced, saw the band reduced to a threesome and the challenge of re-interpreting their immense sound without losing its might. 2009 saw the release of their full debut The Void That Isn’t, its strong and impressive sounds a declaration of the new Lazer/Wulf though this also was followed by losing another member. A long search led Aiken and Peiffer to the eventual discovery of drummer Rice in 2011 and finally the band was set and began working on There Was A Hole Here. It’s Gone Now.

Opening track We Will Meet Again teases the ear from the start with a brewing atmosphere which beckons without revealing its intent merely offering a sense of something big impending. As it flexes its mass a throbbing hungry bass begins lurking behind the mesmeric guitar intrigue. As it lifts its energy the rhythms become eager and excitable and even in the restrained moments when vocals add their breath the track is pulling at its reins. Eventually the song breaks free and we are treated to a storm of urgent energy, striking melodic prompting, and feisty rhythms. The track awakens thoughts, its warm yet open sense of finality inspiring ever changing interpretations of personal imagination.

The piece turns into a muscular beast as it emerges as second track Song from the Second Floor. Whereas the first track has a Mars Volta like gait here it brings an angrier intensity to its energy, a thrash laced metallic presence. With the guitars surging with purpose and again the bass a ravenous presence, the track is an initial inciting bruise of pleasure. Taking a step back to assess the situation the song offers a lull before it builds to its climactic chaotic riot upon the senses. Chaos breaks out as a battlefield of emotions, sounds, and intrusive atmospheres collide in ingenious invention, the track having the feel of an all powerful element standing over the enraged mayhem within its shadow.

Bones of the Youth is the portrait of this bedlam of creativity and intensity, its air paranoid and defensive but with a corruptive defiance. Each listen to the piece brings a difference thought, its varied metal veins incendiary and irresistible. Emerging from the venomous atmosphere the equally distorted air of Morgue Nest brings the EP to a unforgettable climax. With combative rhythms and aggressive riffs rippled with malevolent guitar play the track is the final statement. Whether it is a full finality or the spring board for another development you decide as it and the whole EP leaves you breathless and desperate for more.

The There Was A Hole Here. It’s Gone Now EP has to be heard as a whole for its fullest glorious effect to be felt and enjoyed, though individual tracks will still leave all metal and rock fans quivering with excitement. Released also on vinyl and cassette with the bonus instrumental It’s Gone Now, the EP is one of the most impressive things to come our way this year, and Lazer/Wulf one of the most exciting bands.

http://www.lazerwulf.com/

RingMaster 20/06/2012

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Lykaion : Nothin’ But Death

After an initial uncertainty about the release the debut album from Italian rockers Lykaion emerged as one strongly pleasing and enjoyable slab of blended metal and rock. Nothin’ But Death is a stylish mix of heavy metal, hard rock, thrash, and melodic metal. It arguably does not offer anything new to metal sound wise but has a fully loaded adrenaline driven heart which is irresistible.

As mentioned first contact left an uncertainty which was wholly down to the vocals of Alessandro Sforza. Now he is not a bad vocalist, far from it but suffers from just having one of those singing voices which personally grates. He has an unfortunate effect of making ones senses bristle rather like sucking through a straw, oh that is just me too? He is a very good vocalist we just needed to put any words into context which maybe lead to a differing impression.  Musically the band hit the mark instantly and persistently, the twin guitar creativity of Sforza and Fabio Valentini impressively incisive and imaginative whilst the bass of Alessandro Esposito is an impactful and at times brooding force behind. Add the formidable drumming of Andrea Alberati and you have a quartet which delivers melodic metal to consistently intrigue and excite.

From Roma Lykaion formed in 2003 with the likes of Sentenced, Katatonia, and Nevermore inspiring their full and uncompromising brew of strong sounds. Their debut EP of 2006 The Things I´ve Left and its successor the Swallowed By The Sea EP, drew strong interest and response to confirm an already impressive acclaim for their live shows throughout Italy. With the band recently signing a deal with Bakerteam Records for the release of their first album, one gets a feeling their time to break into a wider audience and recognition is now especially with the strong and overall impressive sounds within Nothin’ But Death.

The title track opens up the album with initial gentle chords and grace before being bowled over by thunderous rhythms and muscular riffs. That melodic touch is persistent though and permeates the powerful surge until it subsides for the more gentile face of the song to take centre stage. The vocals of Sforza come in and the senses are unconcerned and it is not until the song and he shows a greedier intensity that he receives his undeserved resistance. The song though is a great stomp across the ear with carefully crafted guitar play intertwining with heavy weight riffs and energy. It seems briefer than it actually is but that is soon forgotten as the rampaging A Cold Summer Day confronts with again a powerful aural attitude and expertly structured melodies and harmonies. Lykaion have an impressive ability to bring a unique and persistently successful seamless union of tumultuous heavy shadowed sounds and startling melodic beauty, each at ease when hand in hand without any diminishing of their full effect.

The outstanding Free From All Your Fears carries on the great beginning though its successor takes a large step back but that is undoubtedly down to again the unintended personal response to the vocals and the song being a power ballad of sort, he had no chance really.

The heart and best moments of the album comes in a consecutive trio of tracks and they alone ensure the release is worth more than a moment of any ones time. The first is The Dance which has a devoted  fan just from its heavily grizzled bass line intro. The feisty incessant rampant riffs and prowling breath of the song only goes to concrete the instant response and as it expands to its full height the song is a contagious confrontation of stirring riffs, depleting energy, and scorching melodic guitar.

The following Fuck You (I Love Myself) and Passion Kills in their own distinct ways build on and accelerate that enthused reaction. The first is a defiant storm of contemptuous riffing and unapologetic emotion, its middle finger presence brought into clearer context by the wonderful almost inciting melodic touches and imagination. The second of the two is the best track on the release, its relentless dark niggling riffs and greedy purpose completely infectious. The track twists and winds around the senses with the firmest hand and most instinctive heart to ensure nothing but adoration its way, and at one point even the vocals found a friend.

With further songs like the excellent Sick Love and Dimenticherai to ensure nothing but satisfaction, Nothin’ But Death is an excellent release which without venturing into openly new pastures brings one of the strongest and most enjoyable rock albums of the year. Just before we end we just need to say those immortal words to Alessandro Sforza, it’s not you it’s me.

RingMaster 18/06/2012

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The Cory Smoot Experiment: When Worlds Collide

Listening to When Worlds Collide really brings home what a talent was lost to not only metal but music when Cory Smoot (A.K.A Flattus Maximus), guitarist with GWAR passed away last November. It is fair to say he was generally overlooked by far too many when talking about the great metal musicians but just one listen to this album easily sets the record straight. Without the sad background to the album it is a strikingly  impactful release leaving one open mouthed at the skill and imagination at work but knowing this is his last piece of impressive creativity brings a deeply sad yet celebratory emotion surging through thoughts as it excites and satisfies immensely.

The songs on When Worlds Collide were recorded in 2010 at Cory’s Karma Studios and were meant for a concept album called Religion is Fiction. The original idea was for Cory to record the tracks and then bring in some of his favourite and the best vocalists from within the Richmond metal scene, including frontman Dave Brockie from Gwar and Randy Blythe of Lamb of God. Due to scheduling problems this never materialised so he did the vocals himself and renamed the whole project The Cory Smoot Experiment. Cory completed the project just before what was to be his final tour with Gwar in the fall of 2011. Found dead in the band tour bus from a heart attack aged 34, he left the world with great memories and an album in When Worlds Collide which is destined to have a highly acclaimed place in metal for decades to come.

Though not quite flawless and at a few times feeling still not quite completed the album from its very first few seconds captivates and ignites nothing but enthused passion and deep stirring pleasure. The Blood Red opens with a guitar slicing the air with red hot sonic slashes of sound before the song erupts into a rampaging grooved infection. With grizzled understated vocals immersed within the commanding riffs and bulging rhythms the song bundles through the ear with excited muscular intent. The song also immediately sets the stall for the album in the bringing of a persistent array of flavours and sounds into a thunderous and inventive union, the song playing with a classic metal energy and almost grunge like breath.

The song slips right into Fortunate Sun next with its slow burning intensity and invasive presence. Heavy, atmospheric, and openly expressive the track reaps many essences from sludge and stoner sown fields to great effect. Though brief it is striking and makes the perfect seamless lead into its successor Religion Is Fiction. Apart from the great sounds the way the songs for the majority fluidly flow into each other no matter the fuel driving each strongly diverse and distinct song is another excellent aspect to the album. It brings a rolling energy to the album to give it an evolving and perpetually organic structure.

Religion Is Fiction is where the album truly ignites, the song a raging feast of intensity and great sounds. It is a maelstrom of grinds, grooves, and ravenous riffs to leave the senses breathless and the heart hungry for much more. Again short at barely two and a half minutes the track is a vicious aural predator which wastes no note or thought as it saturates the listener in pure metal contagion.

The corrosive violation of Rebirth feasts on the debris the previous track left behind whilst the stunning melodic and acoustically lined Brainfade sets an inspired respite before the death thrash assault of Mandatory Purgatory lays one on their back once more with its colossal unrelenting riffs and venom dripping groove. Again these tracks are very brief and it does add to the feeling that the album was not at its final completion and would have gone on to be a true all time classic if fate had not stepped forward.

The album simply continues to light up the ear and heart through the likes of Countdown To Oblivion, the blackened hearted The Gauntlet with its spiteful riffs and funked up mischief, and Hollow Tree with a glorious mesmeric bedlam of ideas and sounds. Ending on the unpredictable and surprising instrumental Sloth Loves Chunk, a jazz funk/progressive metal brew of invention, enterprise, and teasing, the album is a real treat for the ear and beyond.

With all proceeds of the album to be donated to The Smoot Family Fund which Gwar and Metal Blade Records set up to help provide  for Cory’s family, When Worlds Collide is quite simply a wonderful must have album offering a constant pleasure for metal fans of all preferences.

Go get the album here http://www.metalblade.com/smootfamilyfund/

RingMaster 04/06/2012

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Revel In Flesh: Deathevokation

With heads held high and their intent open and proud, German death metalers Revel in Flesh release their debut album Deathevokation, a collection of aggressive monstrous darkness that sweeps one up with a blackened clutch that deeply satisfies. Formed in 2011 and with a name taken from an Entombed song, the band has only one aim and that is to honour and return to the age of classic old school death metal. Revel In Flesh attacks this with a focus and passion that simply is a feast for the senses and heart. There are some brilliant bands around that have taken the genre into exciting and exhilarating places but when a release like this unleashes a true and honest sound to turn the emotions into jelly there is nothing quite like it or as pleasing.

Deathevokation comes right out of the original tomb of the genre and makes no apologies for it, the album offering nothing jaw droppingly new or adventurous but when the grooves that spine the songs wraps themselves around with eagerness it is irresistible. The album bullies and badgers relentlessly, the red hot grooves leaving scars making it is one of the most agreeable releases in a long time. Yes there is nothing to stretch thoughts or barriers but with sounds this compulsive and as mentioned this straight up honest any other quibble is irrelevant.

Revel in Flesh consists of the duo Haubersson (Guitars, Bass, Vocals) and Maggesson (Drums, Additional Lead Guitars, FX), previous members of bands like Immortal Rites (R.I.P), Dawn Of Dreams and Apophis. Recorded in the late months of 2011 and mixed by Dan Swanö at Unisound Studios (Sweden) in the beginning of this year, Deathevokation offers up ten songs that leave one breathless but grinning from ear to ear.

From the opening assault of Culpa Et Inferna the album rips chunks out of the senses, leaving one with feelings lying numb upon the floor. Rhythms open up wounds with their intensive pummelling to allowing the unrelenting riffs and venom splattering vocals to exploit. With a thrash swing to mesmerise like a slight of hand as the intensity weakens the knees, the song locks on tight. The great thing about the track and whole album is that nothing is done to excess, the guitars show their crafty melodic hand without resorting to indulgence whilst the bass and drums batter and bludgeon to the point of submission but restrain from taking one over the edge of the abyss.

Again trying to be as honest as the album many of the riffs and ideas one has heard in another form before, like the addictive hook within Shadowbreeder but it does not matter in the overall enjoyment and well created wall of addictive sound. Deathevokation will simply rock the blackened skin off any death metal fan and metalers of all guises given the chance.

As always some tracks stand out with an extra something and here the likes of the rampaging aggressively energetic Wings Of Death and the stunning Opus Putrescence lead the way. The first leaves dust in its wake so ferocious and incessant is its might, leaving one gasping and feeling like they just survived an onslaught of thunderous proportions, though barely. The track brings forth groans at its departure making it impossible to move on without a replay of its magnetic manipulating hungry riffs and barracking rhythms first. The latter of the two grabs hold within seconds swinging the senses around as if on an out of control child’s roundabout. There is a distinct folk metal groove prowling beneath the incisive shadowed grind of the guitars that brings a light to the depths the intensity plunges one down in to. It is a glorious cascading shower of sonic abuse and intrusion, and again a song that demands repeat attention right away.

With the likes of the excellent Iron Coffin and Subconcious Error, though all songs can be named, alongside those already highlighted, Deathevokation is a real joy. Yes to repeat the album will not bring you anything new or dare one say overly original but do you want something to leave you provoked yet unsure or something that gives you unquestionably the greatest fun? I know what I prefer and which Revel In Flesh offers.

http://www.facebook.com/pages/Revel-in-Flesh/304228902958414

RingMaster 21/03/2012

REVEL IN FLESH – Iron Coffin

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Desultor: Masters Of Hate

Masters Of Hate is a wonderfully devious album, a sneaky beast that immediately introduces itself with some fine urgent metal to engage the senses with relative ease. It is after departing its powerful charms though that one realises all the time it has worked far deeper than first imagined, the triumphant brute reappearing in the head from nowhere with riffs that deny all other thoughts and melodies that hungrily stir the mind. Swedish progressive death metalers Desultor have created one of those releases that initially grabs attention and nodding praise upon first listen but is all the time leaving deeply laid hooks and lures to reel one back in whenever it wishes. A dark satisfying and exhilarating experience that never stops bringing forth flavoursome pleasure each time it plays with the ears.

       Desultor consists of drummer Michael Ibrahim and guitarist/vocalist Markus Joha, the duo forming the band in 2007. After an acclaimed demo and promo in 2008 and 2009 respectively Masters of Hate is their debut album and first with US death metal label Abyss Records. With the label one would expect another traditional death metal release but Desultor bring much more to their sound though the base is seeded in the heart of the genre. With intelligent guitar work, striking progressive invention and melodies, and excellent clean fuelled vocals the release is surprising, unpredictable, and thoroughly infectious. Muscular and intense the album holds its violence in check to consume with an incessant wearing attack. This makes an album that takes its time to command the senses but once inside the experience is thoroughly fulfilling.

Split into two chapters, each marked with a well crafted instrumental, Masters of Hate recorded and mastered by Sverker Widgren at Sweden’s Necromorbus Studios, takes no time in overwhelming the ear. First full track after the opening haunting instrumental Black Monday thumps on the door with heavy drums and energy before bursting through with thunderous riffs and harsh caustic guitars straining at the leash. As the thrash powered sound expands and the rock vocals of Joha fill the song wonderfully, the unexpected kicks in and one takes time to adjust as the dawning of something special sweeps over the senses.

Throughout the album the guitars craft a wall of sound that wears down the defences whilst at the same time bringing concise and varied ventures into progressive sounds, their creativity tight and sharp. Songs like the passion driven And So We Bleed and Caged, a track that runs with the senses like a wild animal, stand tall with destructive intensity and antagonistic contagious energy. The skill and diversity within Masters Of Hate is as impressive as the sounds the duo rile up the senses with, inventive and startling the album blindsides expectations beautifully making the release rise above the majority of death metal powered releases elsewhere.

One imagines there will be differing favourite tracks for individuals due to the high level of creation within the album, but here the title track and the magnificent Denied stand tall amongst the giants within the album. The first bristles with bulging riffs and assertive intensity as its call to arms anthemic energy drills as deep as the intense groove that spines the track whilst the latter of the two is pure rampaging potency. Denied holds dominion over the ear and beyond with its masterful annihilatory power, the senses feeling like the legend of Canute.

Masters Of Hate is a triumph of an album, a pleasure to feast upon as one constantly finds new spices with every delving. It is a release that needs more than one visit to fully experience all of its wealth but the rewards are deep and invigorating. Desultor are a band to set the heart racing and to give death and progressive metal an inspired shot in the arm.

RingMaster 20/03/2012

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Goatwhore – Blood For The Master

It really is impossible to imagine a metal fan that will not be swept up and carried away by the impressive and powerful onslaught that is Blood For The Master , the new album from Goatwhore. The release is a brute, an insistent merciless tsunami of sound that will not be denied. Ok the album may not be strong on originality, certainly from the band’s existing catalogue, but very few bands can create intense and creative sounds as essential as Goatwhore nor deliver them as wonderfully.  Though not particularly a fan of the band nor having any negative thoughts about them, they are unquestionably respected and recognised for their presence and influence on metal since their arrival in 1997, given birth by the guitarist Sammy Duet (ex Acid Bath/Crowbar ).  Credit where credit is due and they have earned plenty across their years so far, Blood For The Master rocks like a dog after a bitch on heat. It is relentless, insatiable and will have its way.

Since forming and through various line-ups New Orleans based Goatwhore has laid down a deep mark on metal, their fused blackened death come thrash metal devastating and constantly pulling in formidable acclaim and continually increasing loyal fans. From the demo Serenades To The Tides Of Blood in 1998, through debut album Eclipse Of Ages Into Black in 2000 onto 2003 follow up Funeral Dirge For The Rotting Sun, the band drew unwavering positive responses, each release showing more of the band and their varied ideas and evolution. All powerful and brutal but brought forth with a progressively evolving sound.

The band has held misfortune by the hand more than once over the years too, the near fatal van crash that left vocalist Louis B. Falgoust II temporarily paralyzed and the band unsure of its future and the escape from the catastrophic floods of Hurricane Katrina just two examples. This has seemed to add more iron and intensity to the band’s sound as subsequent albums A Haunting Curse(2006) and Carving Out The Eyes Of God (2009) showed. New album Blood For The Master is made from the same brute force and stylish creativity and if sound wise is not a major departure from its predecessor has an even more defined authority and depth to it.

Opening up the charge and turbulent engagement of the senses ‘Collapse In Eternal Worth’ is a violent and incessant attack, with  uncompromising rhythms and riffs violating every inch of the ear and beyond.  The guitars of Duet twists nerves around their spiky fingers stretching and turning them throughout whilst Falgoust scowls and unleashes his coarse spite vocals to great effect. An impressive start soon swiped away by the even more masterful ‘When Steel and Bone Meet’. It is an unstoppable trash powered sonic train hammering on the ear, drummer Zack Simmons and bassist James Harvey fuelling the drive with eager vindictive rhythms.

This is just the start as the next duo of tracks ‘Parasitic Scriptures of the Sacred Word’ and ‘In Deathless Tradition’ hold dominion.  The first swings with a scorched groove that mesmerises as the intensity is raised even higher behind. The track is confident and arrogant in its knowledge it has you hooked and deliciously glorious because of it. Ferocious and a maul upon the senses it is the biggest highlight on the album. The second of the two is in some ways even more intense, its heart blacker and malevolent and carries another irresistible groove veined by corrosive melodic manipulations. Each track upon the album feels like a living entity, each with a distinct unstoppable corrupting mission and directive.

Tracks carry on stimulating and provoking, each laden with an artillery of venomous riffs and barbed melodic intrusions. The likes of ‘Judgement of the Bleeding Crown’, ‘An End to Nothing’, and ‘Death to the Architects of Heaven’ impressively adding to a fulfilling and satisfying menu to feast upon. This is metal as it should be, furious, hostile, and  overwhelmingly heavy. Blood For The Master is a pleasure, it may not be ground breaking but very few releases match the enjoyment it and Goatwhore give.

Blood For The Master will be released in Europe Feb 10th, UK Feb 13th, and  North America on Feb14th

RingMaster 07/02/2012

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Wykked Wytch – The Ultimate Deception

With intent as devilish as the band’s name suggests comes the new album from extreme metal band Wykked Wytch. Dripping malice and unbridled intensity The Ultimate Deception is an undeniable caustic rub on the senses, its acidic melodies, threatening riffs, and badgering rhythms manipulative as they toy and tease, and overall it is one fine experience. Bringing a mix of black metal, death and thrash infused with a technical prowess and industrial like steel ,the album grabs hold before rupturing and unleashing its formidable and consuming sounds. They sound like a sinister alchemist’s invocation formed from the tattered corpses of Cradle of Filth and Dimmu Borgir with the bones of a Djerv, Otep and Dominanz thrown in for extra spice, malevolent, nasty and entrancing. The Ultimate Deception is far from perfect but the lasting emotion at its close is to dive right back into its intimidating charms and often.

From South Florida Wykked Wytch formed in the mid 90’s with their debut album Something Wykked This Way Comes self-released in 1996. This was the starting point of keen interest and growing acclaim for the band firstly with the album being picked up for a re-release by Demolition Records in Europe, then in 2001 with the release of follow-up Angelic Vengeance. Successful European tours and further albums releases in Nefret (2004) and Memories of A Dying Whore (2008) has only enhanced and cemented the band as an intriguing and impressive proposition live and in the studio, never dull or predictable and always challenging in the best way. Current line-up for The Ultimate Deception consisting of the majestic tones and vocal ability of front woman Ipek, the stunning guitar skills of Nate Poulson, session drummer Kevin Talley, and Salvatore Lopresti on keys have unleashed a beast that takes charge of the ear to abuse and violate as it equally engages and inspires. The album is unpredictable and at times chaotic and across its length wavers in consistency but when it is peaking it is glorious and within its lows strongly satisfying.

Released via Goomba Music February 14^th the album starts on a distinct high with opener ‘Birthing The Beast’ and plays as the title suggests. Coming into view with peaceful almost angelic charm the track mesmerises before black hearted tones take over. Pounding challenging riffs and punchy rhythms rage whilst Ipek shows she has lost none of her impressive range and skill. Her delivery here and throughout the album bring a jaw dropping mix of clean and serpentine vocals into a merger with bestial and venomous then going deeper into the infernal pit for guttural and virulent. With most bands a vocalist of this talent would override the sounds, prove too distracting but upon The Ultimate Deception there is no fear with the stunning guitar skill of Poulson. He guides the ear to the whole sound with incisive play, scorched melodies and beauteous balance to the harshness elsewhere, ably and impressively aided by Talley and Lopresti.

As mentioned the album ebbs and flows a little, mainly from the likes of the title track, ‘Prayer Of The Decapitated’ and ‘Abolish The Weak, very pleasing and strong songs that they are but not having the essences to sweep one up into their muscular arms and give something that lingers. That is highlighted when the tracks that really hit the mark unveil their quality alongside these great but unmemorable songs. ‘Serpents Among Us’ is easily the best track on the album, its spite and bile oozing from every pore. Poulson pummels and mesmerises throughout, his heavy riffs an incessant intrusion tempered by glorious razor sharp melodies and thoughtful creativity. Talley barges through the ear with bullying rhythms and Ipek does what she does best, give her all with more varied and irresistible vocals.

‘Despised Existence’ and the closing ‘Eyes Of The Vulture’ come close to matching ‘Serpents Among Us’, the first a bitter declaration that plays the senses with a force only instinct and Nature can bring, its melodic moments like being in the eye of the storm, a peace and melodic assurance waiting to be blasted apart. ‘Eyes Of The Vulture’ is a predatory monster of a track in intent and riffs, a withering hate fuelling the sound. A maelstrom of energy, sounds and emotions it picks the ear clean leaving one breathless at its departure. There is a cover of Metallica’s ‘Fade To Black’ included within the album too and if not quite up to the original Wykked Wytch have given it their own unique and agreeable touch, refusing to go the route most do of simply doing a version of.

The Ultimate Deception is an excellent album that does not quite reach its potential to be a classic, but it is easily a release that will be welcomed and played consistently, all one can ask of a record right?

Ringmaster 07/02/2012

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The Evil Dead – Pronounced The Evil Dead

If some good old style rock ’n’ roll blended with some thrash metal aggression and skilful classic rock guitar play is a flavour that has you licking your lips then make a swift line towards Argentinean metalers The Evil Dead and their new album Pronounced The Evil Dead. The release is a kick ass rumble of insatiable rock and harsh metallic power that will intrigue and fire up the urge to raise horns very high. The band claims their music is “to drink with the dead, and toast with the living” and that does just about sum it up. With songs about death, horror and drinking that emerges as a nonstop celebration with rampant riffs, irresistible grooves and straight forward aggressive intent it is hard not to be swept up in its surprising and often confusing flow but thorough great fun.

First notable thing about the release is that there is so much going on within songs and the band’s music. Imagine Motorhead, Black Sabbath, Iron Maiden, Municipal Waste, Alestorm mixed up with tinges of Murderdolls and a black metal vocal throughout and you are nearing the surprising sound of The Evil Dead. To be honest it takes a little getting used to especially the rasping black tones of vocalist Alejandro Regueiro which seem at odds to the vibrant and creative sounds beneath him but it works, given time and a few concentrated listens. Musically the band is impressive, their ability and creativity easily commendable and you cannot accuse The Evil Dead of being predictable either. The triple guitar attack of Federico Franco, Michel Regueiro, and Ian Regueiro who also adds further vocals to the band, brings a high quality, varied and engaging meld of sounds whether in straight forward pulse racing riffs, incessant and mesmeric melodies or unexpected diversions that makes each track a satisfying spending of time.

Released via Rising Records February 6th Pronounced The Evil Dead entertains unapologetically from the opening riff fest of ‘Graverobbin’’. The track charges like a runaway train throwing explosive melodies and wanton riffs at the ear from first note to the last. The bass of Lucía Velarde and drums from Santiago Botalla rattle the senses with contagious rhythms allowing the guitars to weave and treat the ear with diversity and eager melodies. The music is so absorbing the songs would work just as well as instrumentals, the energetic and well written sounds stirring and very pleasing.

Backing up the impressive opener the album gives the excellent songs ‘Perfect Day (In Planet Hell)’ another mesmeric track that unleashes wonderful hooks, melodies and teasing riffs to fire up the pulse rate, the bone rattling ‘Electric Evil Revival’ that is so hypnotic it could raise the dead, and the album’s best track the brilliant ‘Bootleggers’ to feast upon. All three continue offering up guitar play and instinctive sounds to make the heart race, at every twist and turn there is something different happening and always of the most appealing effect. ‘Bootleggers’ swaggers in with a southern rock type lilt and at first runs like a straight forward rock song. Strong sounds and harsh vocals strolling at an undemanding pace. Soon the song cannot hold back the distinct red hot guitars and burning riffs though, or the vein of black humour that lurks throughout the album. The track offers unexpected elements, turns, and more riffs that would grace any theme tune to a super hero cartoon or show. As always there is so much going on and it would need a page to tell of all the wonderful avenues and diversions the song offers up. It is worth a listen to Pronounced The Evil Dead for ‘Bootleggers’ alone.

      The Evil Dead has made an entrance with an album that is very worthy of your time. For many the vocals will be a struggle as even after numerous plays they still at times do not fit perfectly to the sounds alongside them. Regueiro is a great vocalist but one feels needs to temper the gut wrenching style. His approach is bold and adventurous against the defined and intricate creative melodies made musically but they distract too often as they are and will put as many off as those who connect.

The album for all that is great fun and truly worth a listen, it is of great quality and will leave riffs and melodies with you long after it departs they are that impressive. Try it and see.

RingMaster 03/02/2012

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