Released in North America last year, Beg Upon The Light the debut album of Texan Dark Occult Metal band Venomous Maximus gets its worldwide unleashing via Napalm Records, and a powerful deep mark it is sure to make. Ten tracks of towering riffs and equally mountainous rhythms alongside a web of potent irresistible grooves and an intensity which sweeps you off your feet, the album is an enthralling leviathan of invading shadows and seriously addictive melodic alchemy wrapped in a classic metal inspired embrace. It and the band stand as a major stoner/doom clad player, their presence sure to be an inspiration to many.
The album follows their EP, The Mission of 2011, a release which set thoughts and appetite in strong motion with its promising start for a band which formed in 2010 and has since risen to be one of the most successful and important metal bands from Houston in recent years. Equally live the quartet has earned an enormous reputation as they have lit up stages alongside the likes of High on Fire, Down, Guns and Roses, Mastodon, Pentagram, Eyehategod, Fu Manchu, Torche, Black Tusk, Bison BC and many more. Now thrust into the faces of the full expanse of the globe Beg Upon The Light will take little time in persuading, one suspects, that it is one of those classic moments which defines a band and their presence in the ears of the world.
The ominous emotive keys opening up Funeral Queen instantly engage the imagination, the brewing darkly exotic atmosphere a spark to devil spawned thoughts and challenging sonic caresses. As it closes the distant but distinct vocals of Gregg Higgins add their corruptive presence though his tones truly stand eye to eye with the listener at the beginning of the next up Path of Doom. His part spoken resonating tones provides here and across every song a glorious unique narrative which invites irresistibly the listener into the heart of the dark realms explored. From its opening crescendo of energy and potent sound the song prowls the senses with scorching flames from the guitars of Higgins and Christian Larson licking at the ear whilst Trevi Biles brings further menace with his bass lures. The track continues to roar and growl through to its thick and provocative conclusion, the band providing a sonic fire to eat at and ignite the senses.
From the immense start things only reach to another depth and plateau with firstly Give Up the Witch and then Father Time, the first of the pair a fresher version of a song from their first EP. Stroking the ear with sinew driven riffs and firm rhythms from drummer Bongo from its opening breath, the track is a primal contagion which incites the imagination and toys with the passions through spires of sonic wind and tumbling cascades of addiction causing rhythms whilst vocally again Higgins pulls us through an invocation of devilish mystique. It is a slice of compelling excellence soon matched by its atmospheric successor. With keys crafting the intriguing ambience a lone guitar colours thoughts with its emotive description whilst Higgins again paints the scene in his unique style. It is only a brief song but quite delicious as its sets up the climate for what is to follow.
Complete with bulbous beats and stalking rhythms the outstanding Dream Again (Hellenbach) is next to inflame the passions, its thick stoner fragrance a sizzling temptation within the uncompromising intensity and power of the track. Another major highlight of the release with grooves and sonic colours wrapping greedily around the listener, the song encapsulates every rich aspect of the individuals within Venomous Maximus, their absorbing songwriting and its invigorating burning realisation, and the union of everything into what surely is a major breakthrough into the echelons of metal for the band.
All through the exhausting Moonchild, the predacious Battle for the Cross, and the dramatic and antagonistic triumph that is Venomous Maximus, the album reinforces its riveting authority over the passions with inventive ease whilst Mother Milk is simply another emotionally conjured delight with strings providing a mesmeric melancholic cradling of the ear whilst quaint keys paint their equally suggestive hues. Quite stunning it is a masterful fascination leading into the final blaze of inventive ravishing, Hell’s Heroes, a lasting confrontation which sears and chews on the senses with rapacious riffs and rhythms veined by sonic radiance and vocal intimidation. Complete with more ridiculously contagious grooves it is a mighty end to a magnificent album.
Though lyrically you can question some of the ‘comic book’ like tales and the band does not break into many new arenas of invention with Beg Upon The Light, you will not have heard it before in the individual and thickly persuasive style as brought by Venomous Maximus. The album is an insatiable treat and one setting the band as a true force in world metal.
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