Only Fumes & Corpses -Selfish Act II

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Like going from one extreme to another, Irish hardcore punks Only Fumes & Corpses have released the second part of their two-sided attack Selfish Act.  Whereas Act I, or side one of a proposed physical release, rampaged over the senses and passions through thirteen songs barely touching twelve minutes in accumulative length, the B-side to the ‘album’ consists of one mountainous track lasting around seventeen minutes. Selfish Act II is a towering release which easily defies the temptation to avoid its massive presence by enthralling and seducing the ear and senses with a riveting expanse of invention and imagination. As caustic and raging as one would suspect after its predecessor, the track induces a captivated and thrilled participate in its charge and an exhausted but deeply satisfied admirer in its wake after expelling its final ounce of ferocity.

The Galway quintet formed in 2005 and took no time in earning a reputation as one of the hardest working and determined hardcore bands in Ireland. The years have seen the band scorching stages and audiences alongside the likes of Sick Of It All, Glassjaw, Agnostic Front, Set Your Goals, Sonic Boon Six and many more. Releases from their self-released four track demo through to the Read What Is In Between EP and debut album Who Really Cares, What Really Lasts also brought strong acclaim upon the band no more so than with last EP Selfish Act 1. The new release, classed as an EP too, continues their impressive presence to date but equally takes the band and sound to another pinnacle.

Released via Lockjaw Records, the track opens with a sonic burn of sound with further guitar teasing opening up within to brew an Only Fumes & Corpses - Selfish Act II - Artemerging web of melodic and acidic air upon the ear, the vocals of Momme caustically caressing within the nurtured embrace. It is a slow and deliberate wrapping around the senses whilst intensity is bred and caged within the rhythms and bass lure. With energy in hand it builds into a crescendo which explodes again into a riotous stretch of hardcore urgency and aggression. With a contagious temptation in tow to the punk viciousness, the track easily recruits thoughts and emotions, even if more so musically than lyrically certainly across the whole of the song.

Group shouts and the lone corrosive venom unleashed drive a spiked flame of spite through the core of the song to elevate its potency but it is the adventure and enterprise of the music which captivates most.  Seven plus minutes in and a folk metal like swagger breaks out to add a smile to the fire whilst the energy and pace of the song settles into a less demanding but fully magnetic invitation which then leads into another scintillating metallic temptation with the bass finding extra depths to its throat and the riffs grinding another level into the passions. Superbly crafted melodic near progressive enterprise takes its turn to push the narrative further before again more fluent ideas run along a blade of hard and metalcore like fascination.

Through to its end the track shifts and evolves, never leaving a moment devoid of imagination or excitement and making what seems on paper is an excessive tide of time feel like a passing blink. Selfish Act II is exceptional, the finest thing Only Fumes & Corpses has achieved whilst pushing the bar for British and European hardcore up a few more notches.

https://www.facebook.com/onlyfumesandcorpses

9/10

RingMaster 05/06/2013

Copyright RingMaster: MyFreeCopyright

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Sneeze – I’m Going To Kill Myself

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    I’m Going To Kill Myself is a record which engrains itself into the psyche, a collection of raw and undemanding yet attention grabbing songs which rile up the ears before seducing them with a striking merger of garage punk and grunge. In the same way the likes of Weezer and The Pixies create a contagion which follows the senses until total submission, this album’s creators, Sneeze conjure up a fluid and hungry temptation. Though arguably an album which initially does not make the easiest of engagements, given time it emerges as one of the more enterprising and riveting releases to provoke the senses.

Consisting of Derek Desharnais, Julian Moore, and Danny Boyd, Sneeze come from Boston, MA and include former members of L’antietam and Ape Up. Following on from first release Grandma in the Trenches of 2011, I’m Going To Kill Myself was first released as a limited cassette last year but now has its deserved wide release on both sides of the pond on download and limited vinyl with Midnight Werewolf Records in the US (a pressing limited to 300 on Cloudy Clear coloured vinyl), and in the UK via Essex based independent label Close To Home Records (limited to 200 on Transparent Blue coloured vinyl). It is a release you can only suspect will make the band a name on a tide of active lips once its raucous charms lay their roughened dance upon the wider world.

Starting with Intro, a track which slowly emerges from a sonic haze coated stark ambience into a full blown tirade of aural covercorrosiveness and equally scorching energy still within a crawling gait and oppressive breath, the album flows seamlessly from one track to another, a sonic link hooking the listener immediately leaving no chance to take a breath. The following Canker takes up the attack with striding rhythms and scarring riffs whilst the vocals of Desharnais tease and taunt words with raw and direct brashness to match the sounds.

Through both the scuzz loaded Park Her Road with its throaty bass lures and acidically melodic temptation and the potent resonating rhythmic call of Bad Head, a reference to another band teases thoughts especially with the smart and infectious hooks which vein the fried surface of sound. It is as the title track next tempts the ear with further melodic barbs that the name of the band opens its recognition. Throughout many of the songs there is a definite essence of Everclear which whispers in the ear in the contagious melodies that run through the tracks. Smothered in the distinct energy and character of Sneeze it is a spice adding to the intrigue and appetite sparked already by the album.

From the strong start another plateau is grasped with Vaticant and Dark Elf, two sure pinnacles of the release. The first is a punk rock bruising with a carnivorous grilling from the riffs and predatory snarl from the bass whilst vocals growl and snap at the ear. Barely 50 seconds in spiteful attack, it is an outstanding blast soon matched by its successor.  Dark Elf unleashes thumping rhythms and rapacious shadows which remind of The Eighties Matchbox B-Line Disaster whilst the caustic voice of its tense caress has a Melvins/Gruntruck like mischievous menace. Again brief the track is a burning flame of sonic antagonism and seductive grit that only leaves rich pleasure.

From the following persistently compelling Quit Shitting, the likes of Brainage Pipe, Crumb, and Under the Fridge leave further satisfaction, though this particular part of the album does dip from the impressive start. They do make for a pleasing if slightly underwhelming passage of the album which still ensures there is never a moment when attention flirts with other things and can easily enjoy the offerings before once more being sparked into stronger passion with the mighty Blank Man. It is another track with extra growl to its inventive exploits and a raging vitality cast over a mesh of chewing riffs and again the great grisly bass sound.

Completed by the more than decent Scabass and Outro and its final plaintive invitation, I’m Going To Kill Myself is an album set to recruit a wealth of eager hearts. Fifteen tracks of punk fuelled, melodically sculpted, grunge distortion it is a treat not to be missed. Go on have a Sneeze.

http://facebook.com/sneezeband

http://closetohomerecords.com

8/10

RingMaster 05/06/2013

Copyright RingMaster: MyFreeCopyright

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Revelation’s Hammer – Self Titled

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It may have pure sonic venom coursing through its veins but there is something irresistibly inviting about the arts and crafts of the self –titled debut album from Norwegian metallers Revelation’s Hammer. Skilfully sculpted and ravenous in its hunger driven energy and invention, the release is wholly enthralling despite its spiteful air and offers certain reasons as to why the band is being talked of as the next big thing in Scandinavian black metal. Six tracks of compelling aural drama and rapacious antagonism, Revelation’s Hammer is an exhausting, thrilling confrontation.

Created by Accuser (vocals, strings, and concept) in 2007 for his musical ideas, the project was joined by drummer Bergh. His departure saw the recruitment of Myrvoll from Nidingr with the beginning of the creation of the album began January 2010. The recordings expanded over ten months due to several setbacks, with the album being mixed by Børge Finstad at infamous Toproom Studio (Mayhem, Borknagar), mastered by legendary Peter In de Betou (Watain, Dark Funeral), and additionally featuring a guest appearance from Exilis from Troll on some tracks. March of this year saw the Oslo based band sign with Italian dark metal label My Kingdom Music and as its seditious charms stalk the world one suspects the album will set Revelation’s Hammer to the fore of and ignite the current stance of black metal.

     Obsessed Onslaught slowly crawls before the ear to start things off, its yawning sonic stretch and melodic call soon swept within Revelation's Hammer coveran avalanche of destructive rhythms and equally ravenous riffs. As the intimidating guttural squalls of Accuser stare eye to eye with the listener and unleash their propaganda of malevolence, devious grooves strike out to seduce the senses whilst being still ravished by the vocal and lyrical grazing. It is a weapon the band and album uses frequently and persistently it persuades defences to relax allowing the annihilatory breath and intent of tracks to win their cause. Across its expansive length there is never time to catch breath before the next shift and evolution in direction and persuasion is ridden, that relentlessness only adding to the epic feel of the sound. As intriguing and eventful as it is barbaric, with blast beats pummelling the senses throughout and the excellently varied vocals holding a satanic compulsion in whatever guise they use, it is a striking and scintillating start.

The title track opens with another riveting grooved temptation before the vocals assault with a bedlamic hatred, their malice opening up the song for its corrosive and towering intensity to douse the senses in primal sonic filth. As its predecessor the track twists and flays within its invention, every corner of its course opening another rage of further blistering energy and captivating imagination. The savagery steps back as the climax approaches to allow its nightmare to unveil a sampled stark scenario before returning with a furnace of a finale which scorches ears and sears emotions.

The outstanding Den Blåøyde dances on the already wasted nerves and senses next, though its waltz is one of viciousness and sonic manipulation honed into a brutality which again across a varied gait has only full greed guiding its purpose. Within its immense appetite of violence the track has a web of melodic temptation and insidious beauty which secures honest ardour towards its just as threatening epic breath and virulently creative alchemy. The best moment of the album it offers all the evidence as to why the band is being harped over.

Both Buried as Filth and Avgudsdyrkelse continue to openly impress, the first seemingly bred from a warzone wasteland, sonic teasing skipping over its grave to offer further insanity whilst welcoming hostile futures crafted from the rhythmic maelstrom and riff loaded wall of intensity, The second of the two saunters in with a confrontational attitude and determined will to exploit all, which with further excellent senses examining rhythms from Myrvoll and the kaleidoscope of apocalyptic sonic enterprise from Accuser, it does with ease, senses and thoughts willing victims.

The thrash courting The Crown Of Malice which evolves into a blackened vat of serpentine degenerate toxicity you can taste on the lips, closes off the album with impressive and invigorating power. From start to finish the album only challenges and tests the listener but most of all rewards with one of the most striking and exhilarating genre debuts in a long time. Dare you face the Revelation’s Hammer?

www.facebook.com/revelationshammer

9/10

RingMaster 05/06/2013

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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