World addressing furies: an interview with Jost Kleinert of Lay Down Rotten

jost 2

For fifteen or so years German death metallers Lay Down Rotten have not only persistently unleashed formidable barbarous provocations to inspire and corrupt the senses but with each pushed their and the genres limits and fears into heavier and darker tempestuous depths. Their recently released new album Deathspell Catharsis is no exception, the release a brutal and inventive fury marking the band’s first release with new label Apostasy Records. Keen to find out more about we had the pleasure to talk with vocalist Jost Kleinert about the history of the band, their impressive new album, keeping the intensity of passion after so many years on the frontline and much more…

Hi Jost and welcome to the site, many thanks for taking time to allow us to look at your new album.

Just before that though can you give readers new to the band a quick background and history to Lay Down Rotten?

We are a Death Metal Band from Germany and we are proud of having our 15th band anniversary this year. We released 7 albums so far. Our current release is called Deathspell Catharsis and combines all features we are known for on one hell of an album. We love the melodies of 90s Swedish Death Metal and the impact of Old School Death Metal. This is what we stand for.

You just mentioned new album Deathspell Catharsis, a beast of an encounter. What are the feelings and hopes for it in its early days since being uncaged?

First of all we hope that the audience likes it as we always give our best with every release. So far we got great reviews, our release concerts were a blast and the feedback is just awesome: fans and critics praise this album. We want to play as much as possible to promote Deathspell Catharsis. We play a tour with the legendary Massacre from May 6th to 10th in Germany in cities such as Dresden and Hamburg. Then we are confirmed for festivals. Please check out our official website and our Facebook page. Press the like button and be a part of the growing Rotten Army!

It is the successor to the excellent Mask Of Malice, an album which was for us a barbaric and aggressive ‘shot in the arm’ for ldrdeath metal but arguably lacked that unique spark of adventure. Deathspell Catharsis has that adventure and more within it’s again senses obliterating malevolence and invention. How do you see the differences between the two albums?

Mask Of Malice is a very dark album…Brutal and honest. It still represents an episode in our band history that was very important and I don’t want to miss this experience. Mask Of Malice includes for example one of our favourite tracks Hades Resurrected which we shot a video for and love to play live. Deathspell Catharsis is more open and outgoing. The aggression is on the surface. We do not hold back on this album. This is the essence of all our releases so far and we wrote songs that reflect our status as a band and our personal view on this genre. We love what we do and feel inspired by every aspect of this scene.

Widening the gap, how would you say your sound has evolved since the early days and releases of the band, fifteen years ago?

We have become more experienced and we are proud of our standing, stamina and history. We as a band know exactly what we do and we are still hungry for new challenges. We don’t need external aid to achieve our goals. As far as the sound is concerned we have developed our own style and approach.

Numerous bands enjoy a similarly lengthy career but seemingly lose their snarl and bite over time, something Lay Down Rotten has avoided. What keeps that aggression and predatory hunger alive in the band and its songwriting?

 We are still curious and want more…More albums, more concerts, just more of everything. And we are still pissed off. Pissed off by the zeitgeist and the state the world is in. Moreover we are very dedicated and love to be a part of the Death Metal universe. I am still a fan of bands like Akercocke, Woods Of Ypress, Morbid Angel, and Edge Of Sanity. Nothing has changed. I have not changed. I still feel the adrenaline and I am still looking forward to playing live and being on the road.

What have been your biggest inspirations and do they still provides seeds of thought or has that changed over time?

Life itself, experiences we went through, episodes in our band history and of course books we have read, movies or other bands that gave us some inspiration.

cdarc016_ldr_dc_300dpiHow long was Deathspell Catharsis the making and did you approach it any differently to your previous full-lengths?

It took us three weeks to record the album and two months of writing the album. We developed a certain routine over the years. So we enjoyed the making of this record very much. We again entered the Desert Inn Studios to let T-Low produce this album. He is such a great guy and producer. We trust him and he knows us as he produced six of our albums. That was a walk in the park. It is very rewarding to work with people that have been supporting Lay Down Rotten for many years.

Not being a musician I assume every record brings something new to learn for an artist, what new things did you learn and find out during the making of Deathspell Catharsis which you can employ ahead?

Dedication and humility. Every album should be a new attempt to give your unique best. Second best is never good enough. Mediocre bullshit won’t do it for us. We challenge ourselves with every album to explore new ground without losing our profile. This is what makes it hard on the one hand but very exciting on the other hand. In the end every band has one purpose: to entertain. We entertain by being in honest in our passion for Death Metal.

How did you approach the studio time with the album and are songs pretty much finished when going into the recording process?

We are prepared. Time is money and to keep up a good work ethic it is important to be focused and ready when going to the studio. All the songs were finished and well-rehearsed.

As you mentioned you recorded Deathspell Catharsis with producer Thilo Krieger again, he is like an unofficial member of the band? What is it in him that reads your needs so well?

He knows the band very well. He knows how to create a suitable sound outfit and is experienced. Thilo is very disciplined and focused on the outcome of the studio work.  Sometimes it is hard for a band while recording. You stand too close in front of the mirror so that you cannot see anything. This is where a good producer comes in and puts things in the right perspective. We cannot thank him enough… Always a pleasure working with him.

We can pick out particular moments which get our juices especially flowing: the march of commanding hungry rhythms and riffs in The Fever, the malevolent dark bass prowl in Schädelberg, and the whole stalking presence of Among The Ruins Of A Once Glorious Temple, just three examples in an album which leaves the senses breathless. Is there a particular moment which gives you a certain tingle too?

Of course, for me every song has some kind of magic itself. For example the beginning of Cassandra’s Haunting gives me chills every time we perform this song. Then there are the lyrics for Schädelberg that just burst out of me in a hellish anguish on stage. We just poured our all into every song. So that may last forever. Every time we perform one of the songs memories come alive.

Tell us about the outstanding artwork for Deathspell Catharsis, how strong was the band’s input in this?

The artwork was done by Toshihiro Egawa who also did the artwork for our previous album. He and our guitarist Nils worked out the concept and completed the artwork together. This artwork combines scenes of the songs and shows the essence of Deathspell Catharsis. We are pretty pleased with the result and the great feedback from the fans who seem to like it very much.

The album is your first with Apostasy Records, how does this new home for Lay Down Rotten differ to previous ones like Metal ldr2Blade?

It just felt natural to join forces with Apostasy records. Always go with the flow…Sounds cheesy but it is as simple as that. Apostasy Records are very professional and put a lot of effort in promoting the album and supporting the band. We are very happy with their work.

Are you a band which looks back at previous releases with a critical eye to learn from or one where once an album is out and promoted to its limits looks primarily ahead confining older records to history?

Never look back. You live and learn. I cannot change the past but I can fight for a better tomorrow. We always had great support and are very grateful for that. We are looking forward to experiencing all that may come with the promotion of Deathspell Catharsis. With every album we learn something different. We do not have great expectations. That makes it easier for us to go on as we lay our focus on great live shows rather than dwelling in the past, regrets and just bullshit. And after this album a new album will come. So there is always something to look forward to.

How has metal intimately changed for the band and its experiences over the last fifteen years?

Trends will come and go. Authentic music and musicians will always stay. That is all I can say. And there is nothing wrong with that.

What does Lay Down Rotten have in store for the coming weeks and year as a whole?

The aforementioned tour with Massacre is one of the highlights we look forward to. Then we will play festival gigs as many as possible and we just released a fantastic video for the song The Fever. Check out our YouTube channel and get smashed.

Thank you again Jost for chatting with us. A last thought to leave the readers with?

Support your local Death Metal scene and go to club gigs. There are many great newcomers out there. Please check them out and give independent music a chance. Check out our homepage for all the important news and our previous releases.

Read the review of Deathspell Catharsis @

Pete Ringmaster

The RingMaster Review 03/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Animus – Fall of the Elite

Animus Online Promo Shot

    If you understandably missed the limited regional release of the Fall of the Elite EP last year, Scottish metallers Animus have provided another chance to immerse in its tempest with its deserved nationwide unleashing. Consisting of four savagely aggressive and rivetingly varied slabs of sonic provocation, the band’s introduction is a mouthwatering onslaught providing a well of satisfaction as deep as the promise also rampaging through its sinews. Its sound whips up an antagonistic fury from a brew of progressive death metal and djent with technical and groove metal, creating a predation which is equally recognisable and innovative. Fall of the Elite certainly suggests this is a band still evolving its presence but one with major expulsions ahead you easily feel.

     Hailing from Dundee, Animus was formed in 2010 by drummer Poul Thomassen and guitarist Sam Gilmour. It was not long before the pair was joined by second guitarist Graham Brown and Gavin Holloway on bass. The first couple of years saw the band playing around Scotland drawing strong support and responses but it was with the addition of vocalist Aaron Fawns in 2012 that it could be said a spark ignited within the band, the quintet finding that something bringing everything into focus and vital explosiveness. A further rampage of shows ensued, including sharing stages with the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours, and I Divide, all only increasing the stature and reputation of the band. The final weeks of 2012 saw Animus enter the studio to sculpt their debut Fall Of The Elite, influences from the likes of After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel, and Tesseract spicing up their own distinct toxicity. After a well-received first unveiling, the EP is now poised to work on the rest of the UK with its ravenous and creative intensity.

    Drawing a single breath whilst a groan brews in the background, opener Damnation announces its presence with an intriguingAnimus - Front Cover air accentuated by sirens and an apocalyptic ambience. With the scene set, the track emerges from the anarchy with forcibly twisting grooves and percussive provocation speared by vicious rhythms skirted by predatory riffing. The vocals of Fawns snarl and growl with bile soaked animosity, his direct intent sharing enough variety to engage whilst musically the band lashes and entices the senses with a masterful and bold invention. The song is not the most malevolent and violent proposition but holds an intimidation and intensity which leaves knees buckled and ears scarred as its imagination captures that of its recipient with ease and enterprise.

   The following DB8666 follows suit but instantly uncages a lethal groove and commanding swagger which leaves its predecessor in the shade. The swinging contagion of the track is clad in a threatening musculature upon a djent inspired spine whilst it’s flailing sonic arms and acrid melodic adventure provides the most compelling hues to potently ignite the imagination. Every move and twist of the song is pure infectious bait, at times almost too involved in itself but never relinquishing the tightest entrapment of thoughts and emotions. As all the tracks upon the EP, there is plenty to discover with each subsequent encounter, certain underlying textures and touches unveiled within the increasingly persuasive tempestuous engagement after numerous excursions.

     The following Home(less) is a bestial display of maliciousness but one aligned to the most creative progressive enticement yet. The guitars sculpt simultaneously uncompromising and seductive endeavours whilst bass and drums carve out bruising lures which also only beckon and threaten. Once again the song is a cascade of innovative manipulations which flirt with indulgence and chaos but only to tease and taunt within its skilled and deliberately devious craft. That dramatic and alluring enterprise is pushed further with the closing title track, its bewitching opening progressive design of melody caressing keys wrapping the ears in a transfixing coaxing before being joined by staccato riffs and splintering rhythms within a brawling cast of sonic causticity. Carnivorous in its stalking and guitar endeavour whilst magnetic in its continually evolving melody induced progressive searing of the air, the track is a smouldering rampancy which seizes an instant lingering submission for its ruinous nature and assault yet slowly burns an even greater seduction in the passions over time and multiple unions.

   The outstanding climax brings a similarly impressive release to a close leaving anticipation and appetite for Animus a greedy hunger. Certainly the release shows that the band is yet to find its truly unique presence but that is only a matter of time with, on the evidence of Fall of the Elite, stronger dramatic triumphs destined to follow. This is an immense exciting start and base for their horizons and the open doorway to eager recognition countrywide.


RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from


Rotten Teeth Video Still 2

In the five short months since Morass of Molasses erupted onto the scene in Reading, they have been busy cramming in gigs aplenty, persistently wowing audiences with their unique and ever evolving brand of Sludgy Stoner Rock every time they hit the stage. Their first track ‘Rotten Teeth’ seemed to take everyone by surprise, with fans and critics alike clamouring to sing its praises.

In recognition of this, the band decided to produce a video to accompany the track. As by way of saying thanks to for the support they have received so far, and as a gift before the next track ‘Ashtabula’ which is released on Wednesday 19th March at the BBC Introducing night at The Oakford Social Club in Reading.

Frontman Bones commented on the response up until now, saying ” The chemistry was there right from the first note, but you never know if it will truly connect with people. In truth, it has been better than we could have ever imagined, and this is just the beginning” As for what to expect next, he says “With regards to the video; expect a visceral visual treat for all the senses. Gently preparing you for the onslaught of Ashtabula
The video for ‘Rotten Teeth’ is immediately available to watch through the band’s Youtube page:
Morass of Molasses next track ‘Ashtabula’ will receive its first exclusive play on Linda Serck’s BBC Introducing show and will be released for FREE download on Wednesday 19th March.

To find out more about the video, upcomng  single and all things Morass of Molasses check out their various links below.
facebook :
Twitter: @morassmolasses
email: for more details

Rotten Teeth Video Still 1

Fossils – Flesh Hammer


      fossils pic

     Having been only a few reviews ago talking and enthusing about carnal provocations comprising of just bass and drums with the Atacama Death Experience album Wasted Time And Broken Bones under focus, we now have another impressive similarly sculpted offering to thrill and ignite the passions, possibly the most masterful yet. This time it is Danish duo Fossils with second album Flesh Hammer, a rigorously incendiary and compelling uncaging which again proves you do not need guitars and keys, and in their case also vocals, to send the imagination and passions on an intrusively invigorating and breath-taking inspiring ride. A caustically instrumental noise/rock ravaging of the senses, the ten track scourge of invention and craft, not forgetting violent seduction, is a magnetic tempest which through relatively brief scythes of noise driven ingenuity leaves no inch of the body, mind, and emotions Fossils free. The second release on new Danish independent record label, Indisciplinarian, Flesh Hammer is simply one of the early major pinnacles of the year.

     Consisting of Simon Tornby and Per Silkjær, bass and drums respectively, Fossils’ brew of sound with seeds bred from punk and metal has drawn strong attention and acclaim already through their previous releases, debut album Meat Rush in 2012 and live album The Veal Thing last year. Performances with the likes of Zu, Liturgy, Death Crush, ICEAGE, Dope Body, Thulebasen, Queers and many more as well as tours across the US, Germany, Sweden and their homeland have equally impressed and reinforced the emergence of this unique band. Released digitally and on vinyl worldwide, Flesh Hammer is a new hefty stage for the band to persuade upon, something they do with sublime voraciousness and ease.

   The first shard of lethal seduction comes through Carnivore Arrest, a title perfect for song and release. Thrusts of raucous a0613610799_2bass noise strikes the air first punctuated by drum punches before the track settles into an immediately potent stride of bass grooving which reminds of Gang of Four with hypnotic feet inciting beats. Explosive rubs of expressive predatory noise continue to interrupt the swagger of the song whilst little teases of finger sculpted dark lures and bolder abrasive intensity entice the senses in to compelling effect, before they combine to forge a ferocious brawl a of delicious noise driven causticity.

    It is a tremendous start instantly matched by both Critical Mass and Pelvis Crust, the first a virulent epidemic of rhythmic seduction and vivaciously hungry riffing, grooves a twisted blaze of toxicity entwining around and through the primal core of the song. There is a deeper darkness to the track, an intimidation and predation which builds across its initial persuasion before climaxing in an antagonistic furnace of energy and craft. Its successor is equally as vindictive in its intent just going straight for the jugular from its first breath. There is an almost acrid edge to the grooves and sonic adventure too which breeds from the mastery of Tornby whilst rhythmically Silkjær’s scythes splinters bits of cartilage from the ears with every swipe. A more straightforward heavy rock tsunami than the previous more unpredictable and deliberately testing tracks, it is no less uncompromising or magnetic.

     Lard Obstacle steps up next to leave another blaze of noise alchemy ringing around ears and emotions, its rapacious throat and appetite an unrelenting preying on the psyche until it secures submission and then rewards with a slender but entrapping maze of invention and solicitously grooved coaxing. The track lures you in and seduces like it wants your soul, which as it climbs to its ruinous finale it is given without regret. The following Cat Stalker is no less a dramatic protagonist and insatiable conjuror of malevolently creative rhythmic webs and animalistically toned riffery, its short abrasing of the senses full and irresistible.

    The broader distortion glazed suasion of Filet Horizon brings a nastier severity to the storm though again the pair of antagonists are happy to weave in some undiluted addiction sparking assets in their rhythmic and sonic minimalistic glory. The groundwork set by the song is taken to new exhaustive heights through firstly Stun, the track an iron cast wall of raw endeavour which like the Red Sea splits for a brief moment to embrace further singular but as potently enthralling and arguably psychotic strands of deliciously poisonous imagination.

    The final trio of tracks bringing the album to a powerful end starting with the exceptional Spamtastic, a sinew sculpted waltz of intoxicating adventure and magnetism. It’s masterful trap is similarly matched by the thick intensity powered Flesh Pillar, its oppressive swamp of sound and energy insatiable in hunger and presence, whilst final song Crack Horse simply welcomes all the wounds and submissive compliance offered the album to date and chews them up all over again with a torrential cyclone of rhythms and scathing bass magnificence. It is a stunning conclusion to a quite brilliant album. Flesh Hammer is simply exceptional and though it is easy to imagine there might be a surface similarity to essences of tracks which the lazy and impatient might pull at, beneath there is undoubtedly an irresistible world of ingenuity to devour. Fossils have created a slice of noise alchemy, a destined poll header come December.


RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Foreign Legion – Light At The End Of The Tunnel

12 Jacket (3mm Spine) [GDOB-30H3-007}

    As shown by their new album Light At The End Of The Tunnel, Welsh punks Foreign Legion has never strayed too far away from their roots but continue to invigorate and push their core sound with a passion and energy which never becomes tiresome. The band’s latest riot bridges their old school punk/oi background with a modern punk ‘n’ roll confrontation resulting in twelve songs which make swift anthemic stabs with contagious endeavour aligned to antagonistic intent.

     Formed in 1984, Foreign Legion has built an attention grabbing presence which has endured and widened over the years. A trio of full-length releases continued to set the band apart from the pack, especially the acclaimed Mick Jones produced What Goes Around Comes Around of 2002, whilst split releases with Major Accident in 2000 and Sledgeback in 2010 amidst their own EPs and compilation gracing songs, have proved the band a potent encounter within the modern era of punk rock. On stage again the quartet has forged a formidable reputation, the band playing across over 15 countries and sharing stages with bands such as Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, Stiff Little Fingers and many more. They are also the only Welsh band to play the legendary CBGB’s in New York which makes an additional potent mark on their career’s CV alongside their numerous festival appearances including the likes of Back On The Streets, Punk & Disorderly and the Rebellion Festival, where the band is set to ignite the crowd again in 2014. Released via Aggro Beat in Europe as a Green With Red Splatter vinyl and Rebel Sound in the US as an equivalent in Mint Green with both issues limited to 250, Light At The End Of The Tunnel provides another feisty and tasty morsel from Foreign Legion to enthuse over.

     Light At The End Of The Tunnel makes a strong and appealing start with opener Jenny and its successor What A Place To Be, if neither really inspires a greedy appetite in the emotions. Both tracks still grab attention easily to set things off promisingly, the opening song entangling ears with welcoming guitar strands of melody from Simon Bendon punctured by the firm beats of drummer Glyn Bendon. Soon into its stride with the track’s narrative unveiled by founding band member and vocalist Marcus Howells, the restrained and easy to access stroll makes a simple and catchy romp before the second song on the album similarly has feet and voice in tandem with its infectious if undemanding beckoning, the bass of Steve Zuki the most irresistible lure.

    The album catches fire from here on in with firstly the excellent Regenerations (Council list. Riffs and rhythms bring an instant entrapment of the imagination before soon being reinforced by the swiping vocals as the song looks g at local governments and the decline of British towns and all that inspires. The track is a contagious two minutes plus of uncomplicated but thoroughly inciting social commentary in the renowned Foreign Legion style, though again maybe there is a spark missing in comparison to the following tracks. There is an undeniable greater potency to the song which the band and album expands further through songs like My Radio. A great bass intro from Zuki sets the track off in compelling style, its swagger and groove matched by the hooks of the guitars and the effect rubbed vocals. Infection again wraps the song, its virulence at new heights for the release with riffs and rhythms an additional thrilling toxic bait.

   Both Hey Girl and George Best continue and elevate the new plateau of the album, the first a Peter and the Test Tube Babies meets The Clash like provocation which takes mere seconds to seduce senses and passions whilst the similarly bred second creates a terraces like anthemic quality for an Serious Drinking mixed with Angelic Upstarts eyeballing, both songs enlisting full physical and emotional participation to its recruitment drive. As probably recognised, Light At The End Of The Tunnel just gets stronger and more impressive the further into its body you delve, the likes of Stalker with its deviously addictive bass hook, another striking offering from Zuki who adds something extra to the album arguably lacking on earlier releases, and the excellent Market Trader adding to the weight and bait of the release. The second of the pair again deals with the decline of towns, this through the intervention of supermarket chains and the likes, whilst raging and infecting with resourceful invention. #

     The uncompromising Three Years, and its unbridled assault on child abuse and feeble punishments, scars and provokes with greater venom and passion within the album before Miners and Drunken Heroes uncages a raw, caustic sonic grazing and belligerent defiance respectively. All three songs stalk and coax with spite and energy before the closing song covers them with its shadow. Phoenix from the Flame is a pure punk rock anthem, a band banner which alone places Foreign Legion band amongst the highest echelons of British punk, its body holding all the cards and bait to ignite crowds and recruit new hearts.

   Closing on its finest moment Light At The End Of The Tunnel is an outstanding punk quarrel and maybe the best thing Foreign Legion has set loose to date, certainly the rival to past glories. Punk right now feels like it is moving to a new heyday and records like this only reinforce that notion.


RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Haarts – Seasons Change



     Confirming their impressive introduction though their well-received debut single Article Way and the following Spitting Image release, UK indie rock band Haarts unveil new song Seasons Change, another entrancing encounter reinforcing and extending the emerging potency of the band. Like its predecessors, the band’ third single seduces rather than seizes the imagination, making an intrigue coated persuasion which almost licks and smooches the listener into submission as it builds a fiery brew of emotive intensity.

     The Cumbria hailing Haarts since forming, the members meeting at secondary school, has continued to build a potently ascending presence and reputation, earning their merits through an array of live shows and performances locally, including recently supporting The Boomtown Rats. This strong tempting of fans and passions has equally worked on the media through their releases, regular radio attention locally and nationally matching responses of the underground media.

    Produced by Gavin Monaghan, Seasons Change almost ambles into view, a simmering ambience wrapping the ears as a guitar begins the evocative narrative of the song. The distinctive tones of vocalist Philip Hampson as on previous songs, provides a riveting presence and texture within the stirring craft and depth of the sound. A rhythmic recruitment of the emotions also begins its seductive work coaxing and punctuating the expressively brewing and widening melodic atmosphere. There is a dramatic heart to the song which leans agreeably on every aspect of the track and though it never exactly explodes into life, Seasons Change envelops and involves everything from ears to thoughts, senses to emotions in its brooding breath and intensive passion.

    The single does not quite match the heights of the previous two releases but with the individual craft of the band members uniting for an enthralling design showing the further depth and width to the songwriting and sound of Haarts, the song reaffirms all the startling promise already unveiled by the band. Seasons Change is simply further proof of a band undoubtedly going places.


RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from