Red Fang – Whales And Leeches

Red Fang "Whales and Leeches" press photos 2013

Back again to send heavy cascades of thumping rhythms, demanding riffs, and exhaustive rock ‘n’ roll contagion down upon the senses, Oregon’s Red Fang unleash their third dramatically compelling album upon the world. Whales And Leeches is a commanding storm of what the band does best, making intensive and rapacious heavy rock with more barbs and hooks than an angling convention, and though arguably it does not bring anything strikingly new from the Portland quartet it is undeniably pure Red Fang and a definite highlight of the year.

With the past two years or so a constant round of touring and shows, the foursome of guitarist/vocalist Bryan Giles, bassist/vocalist Aaron Beam, guitarist David Sullivan, and drummer John Sherman have at the same time written a collection of songs which rampage on adrenaline and hunger and seduce with a virulently additive expanse of temptation clad grooves and incendiary riffery. Featuring guests Mike Scheidt (Yob) and Pall Jenkins (The Black Heart Procession), the Relapse Records released album outshines predecessor Murder The Mountains to stand almost side by side with Red Fang’s explosive self-titled debut full length in stature, an album which always has the passions inflamed.

Opener DOEN immediately tells you all you need to know about Whales And Leeches, a spiralling guitar tease across rabid rhythmswhalesandleeches_1500 bursting from a discord kissed introduction to lay the seeds for a groove cored flight of predacious energy and adventure. As you would expect riffs and drums command and bewitch the ear whilst the dual vocal attack is a pleasing magnet within the tempestuous assault, but there also seems an extra dose of mischief and infection to the song which subsequently permeates the whole album, a fun or devilry which has lips licked and anticipation brewing an even stronger hunger.

The following excellent Blood Like Cream is a thrilling feisty dance with a strong Queens Of The Stone Age tantalising to its breath whilst its chorus is epidemically captivating and the trigger to its recipient’s vocal and feet shuffling contribution. The song is a magnificent temptation with a punk rabidity to its urgency and enthusiastic swagger whilst its successors No Hope and Crows in Swine add their individual flavours to continue the terrific start to the release. The first of the two has a snarl and bruising quality which again offers a punk essence but this time within a Black Tusk like causticity whilst the second digs up the depths of the dirty side of the band to clad its sides in Mastodon like filth and aggressive enticement. With a wonderfully niggling presence to the serpentine grooves and sonic licks, as well as excellent unpredictable invention over a torrential drum attack, the song is one of the major pinnacles of the album especially with the Eastern mystique which seduces from within its enthralling climax.

     Voices of the Dead is next to keep the passions enslaved, the song a gentler sinew framed persuasion with great vocal harmonies providing a sweltering gentleness across  the more intimidating sounds. It continues to hold the imagination as firmly as the previous tracks before passing over the task to Behind The Light who then sends the baton into the eager hands of the Black Sabbath skirting Dawn Rising. The two tracks again leave attention and appetite fully satisfied but do miss the heights of their predecessors in many ways. There is plenty of gripping adventure to the songs but there is a lack of that killer aspect which makes them leap from the speakers into an infernally persistent and welcome long term instigator.

There is no such problem with Failure, the track an irresistible lure with broody shadows and a spellbinding menacing temptation. Slowly stalking senses and thoughts the track is a heavy prowling joy, riffs and rhythms crowding the ear into submission whilst the vocals add their demonic tension as guitars sculpt a mesmeric sonic web of invention and sultry desire. It, as many of the tracks shows the diversity and maturity within Red Fang’s songwriting before letting 1516 take the album back into a primal insatiable heavy stomp of blood curdling intensity.

This Animal ensures the album delivers another major highlight before its end, the song bringing again a QOTSA like twisting of inventive sonic diablerie and pulsating metallic predation which at times reminds of Therapy? whilst the final song and latest single from the album, Every Little Twist provides a smouldering , endearing slice of muscular rock with melodic caresses. It is a very decent conclusion though personally not a song I would imagine being the strongest pull into the album compared to much stronger infection soaked tracks upon Whales And Leeches. It undoubtedly brings the release to a fine finish and helps leave exhaustion and pleasure the overriding emotions and thoughts from one exciting album. Red Fang seemingly constantly create music you just cannot get enough of and their third album is another prime example; maybe not a classic but pretty damn close.

http://redfang.net/

8.5/10

RingMaster 17/10/2013

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Rivers of Nihil – The Conscious Seed of Light

RiversOfNihil_MainGroupPromo

Unleashing a debut album which intrudes upon and explores the psyche, UK progressive death metallers Rivers of Nihil is a band with a ruinous sound built with superbly accomplished textures. The Conscious Seed of Light is a captivating confrontation which as it devours and stretches the senses you can only have the feeling that its creators are at the start of a certain ascent to major recognition. The release is a demanding and intrusion affair, one which needs numerous encounters to truly reap all of its rewards, but a release which constantly stimulates and ignites imagination and passions.

Formed in 2009 by vocalist Jake Dieffenbach, guitarist Jon Kunz, and drummer Ron Nelson, the band from Reading, Pennsylvania, was soon gripping attention locally with their dark heavy explorations. Extended to a quintet soon after their first live shows by the addition of guitarist Brody Uttley and bassist/vocalist Adam Biggs, Rivers Of Nihil subsequently released a pair of well received EPs, Hierarchy and Temporality Unbound in 2010 and 2011 respectively, whilst extending their live performances through shows and tours throughout the East Coast and Midwest as well as appearances at events such as Midwest Fuckfest with Dying Fetus, Misery Index and Arsis, and Akron Deathfest with Complete Failure. As their stock rose the band continued to reap praise for their live performances which saw them going on to share stages with the likes of Suffocation, The Faceless, Despised Icon, Revocation, Beneath the Massacre, Dysrhythmia, Decapitated, Six Feet Under and more. September 2012 saw the band sign to Metal Blade Records before entering the studio earlier this year with Erik Rutan (Hate Eternal, ex-Morbid Angel) at Mana Recording Studios (Cannibal Corpse, Goatwhore, Exhumed) to record The Conscious Seed of Light. The result is an intense and dramatically agreeable death metal violation, a confrontation which is as abrasive as it is magnetic and as destructive as it is violently seductive. With essences of the likes of Morbid Angel, Gojira, and Decapitated to its uncompromising depths and presence the album is a release which cries out for attention, and you suspect will eagerly receive it.

      The Conscious Seed of Light is planned as the first of four related albums, each reflecting a season with Spring the theme of the band’s Coverdebut which explores “various themes concerning new beginnings, growth, and an attachment to the natural world in a post-human Earth.” It opens with Terrestria I: Thaw, the track a short instrumental which sets out the soundscape for the release to expand upon. The melodic breath and progressive endeavour of the piece is an instant if not quite dramatic draw which builds up its pressure and intensity to flow into the torrential assault of Rain Eater, its rhythms and vocals a squalling tempest of malevolence and creative causticity. Dieffenbach has a nastily grazing delivery which easily pleases and makes a great rub upon the sonically melodic enterprise which spawns from the guitars. As emerges across all songs, there is plenty going on within the vicious maelstrom, a wealth of invention which needs time to reveal its full suasion but provides potent and exhilarating rapacious flights each and every time.

The impressive start flows into the equally compelling Birth of the Omnisavior and Soil & Seed, both unbridled individual creative predations which leads senses and thoughts on a savage stalking of emotions and a dark damning aural storm. The second of the two is especially a bestial inventive ravaging which hints of directions across its sinewed flank but persistently just as you think you are on course with its intent twists down new avenues, its craft and mastery making for one of the major highlights of the release.

Across an album which holds its imaginative heights at lofty levels throughout, further immense pinnacles come with the dangerously addictive riff chugging Mechanical Trees and the intensive sonically scalding Human Adaptation with its Meshuggah like air splintering malefaction, whilst closing track Airless is a lasting voracious transgression which invites the listener to take the sonic tsunami of The Conscious Seed of Light all over again.

Not exactly an easy listen at times and a release with moments where distinction between tracks is lost without a really deliberate focus on the encounters the album is nevertheless an exciting provocation from a band you just feel has explosive horizons ahead of them. Rivers of Nihil is a name we will be hearing draped in acclaim starting with The Conscious Seed of Light.

https://www.facebook.com/riversofnihil

8/10

RingMaster 17/10/2013

Copyright RingMaster: MyFreeCopyright

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