Depopulate: Till Man Exists No More

depopulate pic

Rich in primal malevolence and driven by bestial spite, the debut EP from Polish death metallers Depopulate is a towering threat to the senses and an equally rewarding treat for the passions. Till Man Exists No More does not venture to unknown places of originality or intrigue but simply unleashes invigorating violent assaults borne of well-trodden but accomplished violations. It is a crushing release which brings solid satisfaction and inciting maliciousness; whether it is good for the health is debatable but no one truly cares when it sounds as good as this.

Originally formed in 2012 as Eviscerated, the Katowice quintet of vocalist Kostek, guitarists Rumun and Bishop, bassist Skowron, and Jack on drums has become an emerging force within a full and busy Polish underground scene. The release of Till Man Exists No More is a step which with its strength and great sounds should take the band to the fore locally and to good attention further afield. It is a menace with muscles which leave permanent bruises on the psyche and a ravishment that shows no mercy or restraint, what could be better?

After a hellish but unsurprising intro, the album seizes control of the ear and beyond with Deranged I Slice. It is an instant 283767_375063755876283_2104401961_ncorruption of sonic lashing and crippling riffs from the guitars and bass, destructive unrelenting drums, and guttural bile cored vocal scowls which just captivate. It is basically a storm of aggressive spite and energy sapping malice brought with skill and enterprise. As mentioned there is not anything particularly adventurous going on but the song and release ignites something different with its raw and uncluttered presence. It is extreme metal dragged through hell by its strongest assets and Depopulate the accomplished deliverers.

The first track is brief and explosive, a pleasing trait for the whole release as the likes of Pandemic Lust and Wastesoaked next add their infernal corrosions. The first is a sand blast of caustic venom with again the drums of Jack nothing but impressive and the sonic scarring of the guitars a lethal confrontation to devour eagerly. The track gnaws and tears the senses from start to finish with rabid hunger, its inspiring passage a ragged embrace. The second emerges out of the wake of its predecessor and continues the unbridled pummelling. The bass finds an extra menace to its prowling intent whilst the song as a whole just bears flesh ripping rhythmic teeth and sonic viciousness throughout.

The romantic Show Me The Way To Your Heart steps up next… well with a title like that there is an uncertainty as what it will offer but rest assured it is as hateful and deadly as what came before with no sap included. Like all the tracks it is not always an easy listen but completely rewarding. It is a monstrous outrage which demands many returns to its lair, though the release is exactly the same to be fair and both receive their wishes.

Closing with the final sonic humiliation of the senses with the excellent Harvesting Human Flesh, the EP is a mighty release which one can only recommend to all genre fans. It provides all the fruits to satisfy all needs from a death metal release and for an introduction will ensure Depopulate is a name to be noted. Certainly for fans of bands such as Cannibal Corpse, Devourment, Obscenity, and Aborted, Till Man Exists No More is a recommended listen.

RingMaster 12/12/2012

Copyright RingMaster: MyFreeCopyright




Cosmic Punch: Clay Pit Road


    Clay Pit Road the new album from Florida band Cosmic Punch, is like a variety box of cookies or chocolates, full of multiple flavours all igniting the taste buds. It is a release which courts sounds from various decades and genres to spawn something which is thrilling and quite irresistible. All of the nine songs upon the album bring honest and openly recognisable sounds but revitalised into an engagement which just brings a big grin to the face and heart.

Cosmic Punch consists of Ryan Michalski (lead vocals/backing vocals) and Juan Gonzalez (lead vocals/backing vocals/music/producer).  The first of the pair is known for his musical projects (Space King, Dead Dark Slide) whilst “Punchy” Gonzalez  is best known as a producer, notably of death metal records including releases from Morbid Angel, Diabolic, and Lover of Sin. The pair came together initially in 2005 to create a project which brought different ages and styles of rock music into one compelling entity and as the album shows have come up with something quite irresistible. The music is a mix of the sixties, seventies, and eighties with a modern vision and breath to the results. At any point on the album you can encounter alternative rock, power pop, pop punk, and hard rock in distinct presences and that is simplifying things. There are many additives and musical references to eras and bands on the album which are perpetually shifting and continually mesmeric. The bio states to ‘think of Monkees meets Beatles meets Boston meets Queen meets Beach Boys meets E.L.O.’ to give you the feel of the sound, it is a fair declaration though misses out on plenty of other juicy spices which captivate the ear.

Opening track One Man Pop Band provides all the persuasion needed to know the album is going to be a real treat, its convincing 1326047570_cP_Cover_idea_new000000power pop energy and melodic enterprise immediately contagious and thrilling. It plays like a mix of Herman’s Hermits, early Green Day, and Weezer bringing feet, heart, and voice in an unashamed union with its sonic rapture. It is a great start immediately left in the shade by the fiery entrance of How May I. With electro teasing and flames of tight sonic guitar the track soon has a magnetic hold, its punk essences reminding of The Dickies and sizzling melodic hooks of the Buzzcocks, and everything employed just aural manna. The electro swagger behind the feisty charge of the song and the vocal harmonics also lure thoughts forward, those of The Beatles, Jimmy Eat World, and The Dandy Warhols. It is the best track on the release and one of the most enjoyable songs anywhere to be unveiled this year.

The irrepressible variety continues with the smouldering Beatles, E.L.O, XTC mellow textures of You’re Great and the hard rock cored Join the Party. Both tracks fall short of the first two but still build their own unique piece of lingering pleasure inside with their imaginative and warm refreshing expanses. The second of the pair would not feel out of place within a Cheap Trick or Aerosmith set if given a slightly harder spine and both easily leave one with a heightened eagerness for what is to come.

The Long Slow Road and The First Time keep the baton flying high, the first with golden pop kisses within blustery sonics whilst the second breaks out tenderly caresses harmonies and provocative keys within a swiftly strolling urgency. It is a new wave wash of warm and energising majesty which soon recruits the passions and voice to its pulsating presence.

Another giant highlight comes with International Nerd Holiday, a track with all the fun and melodic mastery of The Monkees and the confident swagger of bands like Purple Hearts. It is a glorious celebratory riot of pop rock through the ages and seriously rivals the first two tracks as top tease.

The release is completed by the E.L.O./House Of Love wrapped Walk Away and the rock/punk feast of heat that is Bring You Down, a track which is like The Super Happy Fun Club meets Huey Lewis and the News in a party held by Jane’s Addiction. It is a brilliant end to a terrific album, a release all pop fans from any direction should embrace with at least an investigation. Cosmic Punch is a pleasure which brings nostalgia and new imagination into a whole new satisfying realm.

RingMaster 12/12/2012

Copyright RingMaster: MyFreeCopyright

Darwin And The Dinosaur: Romulus

Darwin and the Dinosaur

A teasing and provocative dance for the ear, Romulus the new EP from UK indie conjurors Darwin and the Dinosaur is a tingly magnetic treat which leaves one smouldering in contentment. It is not necessarily the most immediate of pleasures, though has no weakness in persuading a willing acceptance of the good time it offers, but one which leads one back into its melodic arms far more constantly than other releases over reliant on easy lazy hooks.

Formed in 2008, the Norwich quintet of has earned a strong adoring following and firm acclaim through their sounds, shows, and previous releases including their debut album and a pair of EPs, the last self-titled quartet of songs from September of last year taking the praise and recognition for the band to greater heights. Romulus is set to elevate things further with its seven incisive sharply crafted gems and take Alan Hiom (bass/vocals), Alex Ware (guitar/vocals), Ben Piper (guitar/vocals), Steve Larke (guitar/vocals) and Joe Mears (drums), to a new level of deserved recognition.

Musically the band forge a melodic post punk and alternative rock fuelled sound with eighties whispers and sonic tinkering which is darwinandthedinosaurs-300x300compelling and absorbing. It teeters between the more psyche sounds of bands like We Are The Physics and Innercity Pirates and the subtler tender caresses of a Radio Friendlies or Young The Giant, dipping toes in both wells with accomplished craft and skilled expression. As soon as opening track Mow Mow lies down a canvas of jangly guitars with shaped emotive tones, attention is keen to delve deeper especially as the following eager and jabbing rhythms bring another level of potency to the track. Not for the first time on the EP, the bass of Hiom is a stirring and irresistible lure alongside his own plain but compellingly expressive vocals backed by strong group harmonies. It is not a song which makes an instant anthemic companion but one which lingers and coaxes strong attraction to its stylish charms.

The following Liebe holds a similar gait with an additional gentle wind in its sails and enchanting breath to its emotive whispers. There is always a steely spine to the songs of the band though which within this track holds a firm direction to allow the sonic tenderness and reserved swagger to wrap around with skilled invention. Neither of the first two songs offers startling hooks to hang the memory on but both make for engaging and impacting companions within their presence.

October enters on a melodic swing accompanied by again great infectious basslines and rapping rhythms. As the track continues into its hearty depths, senses picking guitars add a teasing spicery to the stance of the song whilst the vocals and harmonies continue to bring a captivation throughout. It is a rich mixture which for personal tastes only lacks a snarl to match some of the suggested punk airs across the song. The track is one of the brighter sparks on the release which reflects almost negatively on its successor Stupid Is As Stupid Does, a song which in the shadow of the first three lacks a strong voice; despite that it is still a brief slice of fiery emotion and refined craft which makes for an enjoyable time.

The release leaves its greatest moments to the latter half of its stay starting with the thirty second growl of the pop punk bruise Lady Die.  The track has the bite which one is searching for elsewhere and just ignites those old punk passions whilst weaving lashes of melodic pop to make a tasty brew.  F**K You And The Horse You Rode In On continues in the same vein though with a full body to its creative intent. It recalls elements of the Television Personalities with its self-deprecation and uncluttered expanse of sound and again pulls a greater adoration its way than in the earlier songs.

Closing with 16s, a punchy sizzling stretch of incisive energy and flaming imagination, and the best track on the EP such its combative attitude and powerful presence of smouldering melodic flames, Romulus is an impressive release which places Darwin and the Dinosaur as one of the more promising indie bands in the UK. Not quite flawless but wholly enthralling, Romulus is a first marker for 2013 for bands to aim for.

RingMaster 12/12/2012

Copyright RingMaster: MyFreeCopyright