Prematory – Corrupting Influence

 

PrematoryBand

    There has been a wealth of invigorating and thrilling thrash metal releases over the past twelve months or so and maybe to top the lot comes Corrupting Influence from Belgian thrashers Prematory. If you ask whether it offers anything dramatically new to the genre the answer would have to be, like predominantly most of the recent successes, no but whether it adds a fresh breath and potent shot in the arm for the scene, then that is a resounding yes. Eleven tracks of voracious imaginative metal with the craft and adventure to fire up senses and passions, the second album from the Leuven quintet is a snarling beast of a provocation, an antagonistic rebellion musically and lyrically which simply ignites the fullest, hungriest satisfaction.

      Formed in 2007 by bassist Joeri Trescinski, guitarist Joeri Van De Schoot, and drummer Thomas Minnen, with vocalist Simon Duson coming in soon after, the band spent the first couple of years working on their material, breaking that up with the occasional gig. Second guitarist Jonas Van De Sande then joined the line-up before the band entered the studio to record debut album Suiciety in 2010, it following on from the five track demo of the previous year, We’re the Titans. The album drew impressively strong responses from fans and press, and helped the band to secure support slots for bands such as Warbringer, F.K.U., and Dr. Living Dead. Established in the Belgian underground scene, the band followed up that success began hitting stages in countries such as Germany and The Netherlands. The addition of Thomas Wuyts to replace the departing Minnen came about as the band began writing for their follow-up album, the transition a seemingly seamless affair within the creation of Corrupting Influence. Linking up with producer Sven Janssens (ex-Aborted) from the Red Left Hand studio, the album was recorded early 2013 with the mastering provided by Chris “Zeuss” Harris (Suffocation, Soulfly, Hatebreed). Now released via Punishment 18 Records, the scintillating fury is armed to the gills with all the qualities and strengths to put Prematory on the frontline of current day thrash.

     Taking a look and swipe at everything from global, social, and political ills in modern society, Corrupting Influence sizes up PrematoryCoverthe listener with the provocative and enticing instrumental Sledgehammer to start things off. A sultry embrace covers the ears first before guitars expand a fiery climate, one soon driven by bold rhythms and tenderising riffs. Laying this potent canvas for barely over a minute, the riveting piece is immediately succeeded by Insignificance, a delicious carnivorous bassline providing its initial path into an already awoken appetite. Striding rapacious riffs are soon stealing its limelight alongside thumping yet restrained rhythms to stretch the brewing contagion, a lure added to by the slightly grizzled and grouchy vocal tones of Duson. The song proceeds to stomp and challenge with a relish and invention which sees twisting grooves and sonic flames searing those little hairs which grace every ear. The Metallica essence which marked their earlier album is less pronounced here but still an available temptation even if it is agreeably more in the swagger of songs than sound now. Providing a varied and creative endeavour to submit full attention and hunger to, the track sculpts a breath-taking full start to the album.

    The following Down the Drain is no less impressive as it keeps that adrenaline fuelled foot to the pedal and launches at the senses with a vocal and sonic predation. An almost Suicidal Tendencies like coaxing creeps into the song, especially in the vocal delivery, adding a great raw surface to the already caustically appealing encounter. Irresistibly anthemic and rigorously dynamic, the song’s ferocity is tempered by the magnetic beginning to Hold My Breath, a lone guitar veining the air with a simple and evocative temptation as singular drum punches intimidate the atmosphere. Building up to its full expulsion the track sends shards of melodic invention through the brewing fight before embracing the senses in a bear hug of accusatory vocals, combative rhythms, and condemning riffs. Less immediate than other songs, its drama and rebuking might still finds its way into the deepest appreciate and hunger, whilst the album continues with its insatiable energy.

    Both the virulently infectious Toxic Experiment, the name perfect for its blistering sound and presence, and the intensely enjoyable Lies upon Lies place another layer of thrash quality upon the album, though the second of the pair for the first time on the release seems to recycle previous riffs too openly to avoid detection. It does not deter a full and eager consumption though before the outstanding assault of Grave Raiser or the simply scintillating Sentenced for Life. Starting with an intro which provides one of those toxins there is no cure for, bait which leaves the juices incontrollable, the second of the two is a predator which uses every spiteful angle and ravenous invention to raise the temperature. It is a glorious and unique slab of vivacious enterprise, Eastern promise slipping in at times to explore and accelerate the ridiculously addictive pull of the song whilst its core evolution of sounds and ideas is impossibly bewitching as it takes best song honours.

    Avoiding the possibility of being an anti-climax after such a triumph the following pair of Peace?! and Bad Blood offer maybe more straight forward thrash blitzes but no less satisfying furnaces to engage in, whilst the closing title track uncages one final ravaging with compelling twists and vicious mischief to leave Corrupting Influence on a mighty high. You might not be getting something remarkably ground-breaking from Prematory on their new release but for thrash metal of the highest deviously addictive order than Corrupting Influence is a must have slab of inventive ferocity.

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9/10

RingMaster 26/02/2014

 Copyright RingMaster: MyFreeCopyright

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Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

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9/10

RingMaster 26/02/2014

 Copyright RingMaster: MyFreeCopyright

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Doom’s Day – The Devil’s Eyes

 Photo: Phil Rousseau photographe

Photo: Phil Rousseau photographe

    The release of their debut album The Unholy just over a year ago brought Canadian occult metal/horror punk band Doom’s Day into a closely inspected view and though in many ways the release was more promise than substance it was a thoroughly enjoyable encounter sparking intrigue and anticipation of greater things ahead. Their second full-length The Devil’s Eyes, easily justifies those expectations and hopes with its eight gothically atmospheric striking songs. With a maturer sound and better production than its predecessor, the release unveils a band with still plenty more surprises and potency to come you suspect but in the midst of an impressive evolution.

     Hailing from Quebec , Doom’s Day has been on a steady and recently rapid ascendency in grabbing attention, locally through their live shows and more widely with The Unholy. Originally released as a hand numbered CDR consisting of just 50 copies, the album drew the attention and enjoyment of PRC Music owner Remi Cote who proceeded to give the record a wider re-release. Certainly no stranger to strong and positive responses, the album made a good base for the band to move on from which their new album, again out via PRC, has explored to impressive success. Continuing with a sound seemingly seeded in the likes of Mercyful Fate, Venom, Ghost, and at times early Misfits, The Devil’s Eyes brings a stronger unique voice to the band, one arguably more heavy metal spawned and a big pleasing step on from their introduction.

     The Offering sets the listener off on the occultish stomp of the album, strikes of drums and guitars cutting through the wash of doom'sday_devilseyesthe atmosphere casting keys. Immediately ears and imagination are led into a shadow clad mausoleum of blackened intent and demonic provocation, an evocative and expressive caress darkening the soul. Into its steady gait the track expands with strong vocals, singular and as a dual persuasion, and a sonically hued guitar enterprise ripe with acidic colour, all adding greater adventurous intrigue to the narrative. It is a magnetic start, an infectious lure setting up album and appetite impressively.

    The following Cathedral Of Lies provides a warmer enticement to its temptation, mellow vocals and harmonies almost chant like in their beckoning within the spiralling web of guitar endeavour and forcibly grabbing rhythmic frame. Like the album, it is a song easy to immerse within and feed thoughts and visions off of, haunting keys and chilled melodies the strongest bait to sculpt adventures with. Also offering an emerging throaty bass sound as appealing as the riffs and invention of the guitars, the track makes way for The Outsider. Sinister from its first breath, and certainly the initial caustic stroke of vocals, the song stalks the senses with a predatory gait and enveloping gothic keys. It constantly probes and provokes the imagination, again with dark scenery and noir lit enterprise. The best song on the album it pushes it and band to a new plateau with irresistible invention.

     The release continues to stir up the passions with firstly the title track which rattles cages with its antagonistic almost violent rhythmic agitation and flowing keys, a vault of malevolence and anguish unleashed to embrace and taunt the listener. Its bordering on insidious tempting is matched and surpassed by Watery Grave, a song which takes longer than some to seduce but emerges as another highlight. Slow in its taking of the imagination, laboured in its preying of the ears, the track is a deceptively contagious submission from the release. It seems to evolve before the ears turning from a strong emotive menace into a highly seductive consuming of heart and soul. Those earlier mentioned influences seep through across the album but equally here you feel a stronger psychedelic essence which flickers up whispers of The Doors.

    The additive lure of The Devil’s Eyes never waivers as the final trio of songs set up home in ears and thoughts. The first Lost Soul is maybe less dramatically gripping as previous songs but is rich in stimulating riffs, commanding rhythms, and expressive keys. The vocals equally impress, and across the album to be fair, like the music and invention, standing much stronger than on the band’s first album. Offering an excellent solo, the song is followed by the dark ‘hymn’ Ave Satanas, a predominantly instrumental psalm of melodic excellence and evocative ambience. It is an outstanding piece of composing and craft which is ousted and contrasted by the closing track, Crush The Cross. In quality and excitement the song is easily the equal of its predecessors but whereas the previous song was an enveloping of melodies, this is an all-out charge of harsh riffery and rhythms, an almost thrash honed blaze of sonic corruption to end things on a high.

     As stated earlier Doom’s Days’ debut pointed at a strong chance of greater things to come from the band but The Devil’s Eyes easily outshines any expectations and hopes. There is still improvement to come you feel but there is little to defuse the pleasure from and praise for the release. Doom’s Day is now a band you can confidently say is going places.

https://www.facebook.com/dooms666day

http://prcmusic.bandcamp.com/album/dooms-day-the-devils-eyes

8/10

RingMaster 26/02/2014

 Copyright RingMaster: MyFreeCopyright

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Bernaccia – Cinema EP

Bernaccia pic

    Triggering that gut instinct that you are witnessing the birth of something special, the Cinema EP from UK neo-psychedelic blues rockers Bernaccia is one of those magnificent surprises which has you catching your breath in excitement. Hailing from Newcastle upon Tyne, the band has already reaped an eager attention with a pair of previously released songs. As good as they certainly were though, there is something extra and exceptional about this new release in presence and quality. Bernaccia casts a fusion of blues, folk, and rock which is deliriously captivating; a riveting sculpting of atmospheres, rhythmic slavery, and melodic seduction which is simultaneously expansive and intimate, and simply irresistible.

     The quartet of Jonny Noble, Stew Falkous, Chris Cox, and Kieran Healy drew great critical responses and success last year with the release of the track The Keeper, a song followed and equalled in strength and success by No Club. The second track pushed the band into a greater spotlight, helping pave the way for the band to support slots bands such as Wolf People, Twisted Wheel, and Royal Blood, but it is Armada and its two companions making up the new EP that look destined to dramatically push and accelerate the emergence of Bernaccia such their riveting temptations

     From its opening breath Armada has intrigue soaking senses and imagination as a sonic whisper brews into a breeze as the a1189779621_2distinct tones of Noble begins the expressive narrative. As anthemic beats from Cox join the richly coaxing emergence of the song, its atmosphere and seduction intensifies becoming irresistible as the striding dark bass tones delivered by Healy and the equally eager guitar strokes from Falkous and Noble join the transfixing suasion. The song transports the imagination into imagery of chain gangs, passionate resistance in the face of oppression, and simply lives making their way through unavoidable trouble and suffocation, the power of the song inspiring thoughts to go beyond its own theme and intent. The song is a delicious blaze of sultry, smouldering drama punctuated by those striding rhythms, a bold drama soon matched by its successor.

     Circuit Ryder takes the sinewed rhythms of its predecessor and pushes them into bigger bulging enslavement, their towering call supported just as loftily by a pulsating bass beckoning and the guitar shaped emotive hues of the song. There is a western ambience embracing the track, more Native American than Morricone like and enthrallingly magnetic amongst the folk and rock seeded blues exploit. Essences of The Doors play with thoughts but equally that of Helldorado and the Dennis Hopper Choppers with more than a whisper of The Verve too at times. Accompanied by a new video from Melting Point Media, the song is simply sublime, bordering heroic and apocalyptic.

   Final song No Home For The Buffalo reaps the same climate as the previous track, its body bringing an even more potent blues flame as a scuzz kissed edge excitingly teases through the guitars. As across the other songs there is an unrelenting anthemic call to its determined yet controlled stroll, the track spawning a shamanic/ soulful drone which envelops and takes over it’s recipient like an epidemic. It is another outstanding venture standing side by side with its fellow protagonists to ignite and invigorate thoughts and passions, a union of tracks which as mentioned thrusts the band into a whole new realm of success and expectations.

   Armada is the first of a single a month sequence from Bernaccia which will make up the Cinema trilogy, each track connected to a piece of exclusive artwork which will be available as an early bird exclusive to the debut download Armada. It is a little confusing to our simple minds especially with this release already being called Cinema, but whether by that name or using Armada in your search, this is an evocative adventure which simply must not be missed.

https://www.facebook.com/BernacciaMusic

10/10

RingMaster 26/02/2014

 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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