Slain – Before The Inferno

 

slain pic

There is no re-writing the text book of death metal with Before The Inferno, the album certainly re-working but treading down existing violations, but it has to be admitted that the debut album from Polish band Slain is a thoroughly enjoyable and potently contagious provocation. Consisting of eight monstrously aggressive and openly accomplished violations, the release grips from its opening track through to its intrusive last. There is admittedly a certain mix of success within the release but never a moment where band and album leaves satisfaction wanting and pleasure lacking.

The creators of this impacting release were formed in 2005, though the band’s seeds in many ways harken back to the nineties when band founder and guitarist Paul was in Cryptic Stench. Some of Slain’s songs originated from that time with the band reworking and rearranging them to fill the full blooded onslaught of their ferocity. Initially Slain went through a few personnel changes whilst the band continued to earn a strong reputation and fan base with their live performances. A stable line-up emerged though before the album was recorded; Paul joined by second guitarist George, bassist Lucas, drummer Wojtass, and vocalist Marcin. Recorded in 2012, Before The Inferno found its release with The End Of Time Records at the tail of 2013. Since its release, Slain has seen the departure of George and Marcin, the pair being replaced by Hannibal and Balrog respectively. The turn of the year the band has begun working on new songs for their second full-length whilst this, their debut continues to make an impression and mark the radar of a persistently widening attention.

The Bełchatów quintet comes at the ears through a sinister ambience, demonic shadows, and intrusive breath conspiring to infest senses Slain-BeforeTheInfernoand imagination. The niggling start to Confession of the Blind Messiah erupts into a torrent of predatory riffs and punching rhythms whilst vocally vitriol and ravenous intent clad every word. It is a magnetic entrance, the track enslaving with its concentrated confrontation before unleashing a further increase of aggression and malevolence. Speared by skilled sonic flames and a persistently shifting antagonistic stance, the riveting track makes for a mighty start to the album, essences of Behemoth and Decapitated offering their presence.

The following Wings of War strides murderously into view next, clad in a tsunami of destructive rhythms, flailing riffs, and an underlying groove which is two-toned in voice and lethal in effect. Well into its purpose, the grooves mutate into an infectious lacing of the senses whilst the vocals similarly squirm maliciously between textures, the combination rigidly enslaving an already rampant appetite for the release. It is a ferocious onslaught but ripe with contagion and addictive toxins, especially the impressive sonic blaze of guitar which colours the track with its piercing solo. As suggested at the start there is not a great slap of true originality to the encounter but thrills and neck muscle manipulation show no restraint in their persuasions.

There is a thrash sculpted fire to the sound and album, its rabid hunger again insatiably driving the force of Malleus Maleficarum and War Is Coming. The first is a feisty stalking of the senses with an angry spine of bad tempered rhythms within an acidic veining of skilfully crafted sonic incitement. Its successor takes the rapaciousness of the other track to greater immensity, its carnivorous rabidity spurring on prowling rhythms and a pestilence of riffery. The track is voracious savagery but again infuses a swagger and swing to its barbarity which infests the passions. When a song straddles the imagination and treats it to a rodeo of feverish energy and vivacity it is hard to resist even when the wounds left bleed profusely.

Fucking Gods continues the violent and irrepressible suasion of the release, its brutal rampage unrelenting yet pronounced in its precise baiting whilst the following Deadly Midget presents a more restrained attrition but one no less hungry in its predation and manipulative toxicity; grooves and riffs sharing the imposing canvas for their fevered taming and consumption of the senses. There is a touch of Sepultura to the poise and intensive intensity of the track whilst its ravenous incessancy and melodic adventure slips easily under the skin and into the memory.

The album is completed by the raging turmoil of Thorn and the imposing enterprise of Omen, both tracks a tasty horde of vindictive rhythms and scourging riffs spiced by sonic invention, though neither quite match the heights of the earlier songs. Nevertheless the pair brings a great album to a stirring close to leave satisfaction full and emotions eager for more. Before The Inferno may not carve out new inventive avenues for death metal but when it provides a hellacious ruin as exciting and stimulating as it does it is hard to raise a care. Slain has ensured that anticipation for their sophomore album is already gearing up.

Before The Inferno is available via The End of Time Records now!

https://www.facebook.com/pages/Slain/1395976333996090

8.5/10

RingMaster 22/04/2014

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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PROMETHEE release spanking new video and new songs.

Promethee Promo Shot

HIGHLY RATED EURO METAL OUTFIT PROMETHEE RELEASE TWO NEW TRACKS AND IMPRESSIVE VIDEO

Promethee are poised to release two new tracks ‘Dark Souls’ and ‘The Sour Taste’ on 7” vinyl and through bandcamp on 1st May. The Swiss riff kings have also just released a brand new video for ‘Dark Souls’, which is out now and available for viewing at

https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

 

Hailing from Geneva, Switzerland and born during the early part of 2008, Promethee didn’t waste any time, and quickly racked up a plethora of successful shows throughout Switzerland and France in front of a fast growing public. With the release of their debut five track EP in 2010, the metallers were soon hailed as one of ‘The new bands to catch on the European metal scene’.

True to their growing reputation for being incredibly active, Promethee continued to spread their wings and secured tours throughout Europe, Canada and even Cuba before going back into the studio to record their debut album, “Nothing Happens. Nobody Comes, Nobody Goes.”. The record hit stores in 2012 and immediately propelled Promethee to a higher level. Gathering prestigious feedback from the national press, including Kerrang!, Metal Hammer and Big Cheese Magazine, the album has been continually praised for its technical and musical mastery.

Promethee furthered their climb with well received video singles and live videos which have been lapped up by tens of thousands of fans around the world. Aided by an additional one hundred and fifty shows played in over ten countries, the band’s visibility has swiftly increased.

Now in 2014, Promethee unveil two brand new slabs of mighty metal fused with commanding hardcore and a wealth of groove which will be released in the form of a seven inch vinyl along with a lyric video. The tracks are lifted from the noise chiefs’ new album, which will be released by the end of 2014. After a steady incline during the past three years, the band are now poised for a full scale European and North American assault. And with their fan base growing day to day with tens of thousands of active followers and the band touring as much as humanly possible, Promethee have never been so motivated to transcend and evolve into a heavyweight force on the world metal scene.

 Check out the video for Dark Souls @ https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

www.prometheemusic.com | www.facebook.com/prometheemusic  | www.twitter.com/prometheemusic

Primal – Prophetae

Primal cover

Prophetae is the third album from one man Polish black metal project Primal, an encounter which immerses imagination and senses in an investigative compelling web of sound and emotion. Exploring the themes of madness, darkness, cruelty, and the beauty of apocalyptic prophecies as well as delving into the insanity of man’s minds in creating them, the five track release unveils a tortuous seduction and a caressing abrading which envelopes and permeates everything from ears down to emotions. It is a challenging encounter but one which is simultaneously enthralling and intrusive in its touch, an expanse of starkly toned soundscapes and ravenous fermentation.

Primal is the work of Warsaw musician/songwriter PrimalOne, a project he began in 2008. Across the years he has released a couple of demos, Ominous Deity and a self-titled EP both in 2010, a split with Iugulatus and Deep Desolation, and a couple of albums starting with Deathzone in 2011 and Obłęd a year later, the pair split by the Duch EP. Recorded in 2012 also and released to the rear of last year, Prophetae is bred from the constant anger and defiance to religious idiocy which marks PrimalOne’s creativity and work. As the quintet of songs soaks through the pores and submerges ears, there is a ripe passion aligned to antagonism which spurs on the invention and intent of the pieces, it alone bringing stern textures and imposing structure to the tempestuous evocation of the tracks.

I opens up the release, church bells laying out their persuasion before being suffocated in an avalanche of destructive rhythms and carnivorous riffs; all determined to challenge and consume the suggestive religious peace. The track is ferocious and merciless in its ravaging of the ears, blackening out light and escape as its vitriolic narrative is offered through heavy nasally spoken words and aural predation. The track alone is an exhausting experience, its moments of respite and melodic acidity as magnetic as the fury before and around them. It is not the most violent encounter you will come across within black and extreme metal but one of the most incessant and insatiable, a description applying to the whole album.

The raw breath and glaze of the track adds to the corrosive provocation and pagan-esque whispers of the premise, fuelling extra venom and beauty in the more patient and classically honed parts, a potent blend emerging again in II. From its dark cavernous depths, the track coaxes and seduces the imagination, rhythms ensuring intimidation and danger is lurking whilst the resonating elegance of the track’s entrance brews a rapturous appetite. The track is soon unbolting its raucous energy and corruptive intensity, guitars winding their incendiary and inflaming melodic toxins throughout the heavy attrition spawned body of the track. There is a bolder anthemic urgency to the track than to the first but only within a determined stalking of the listener, the again spoken and generally unintelligible but thought inspiring vocals adding to the dark demonic drama and senses binding success of the track.

The seven minutes III is relatively short within the album but wastes no times in notching up the raw caustic surface lure of the album, steering the listener through a blackened network of crowding sonic corridors and emotive windings, all converging to test and provoke with insidious charm and uncompromising intent. As the track plays out the body feels as if locked in a dungeon of intense and chilling incitement, trapped underground with a coarse and scourge bred presence which toys with the psyche whilst sparking multiple incendiary reactions.

From the choral sample waking up IV, the track prowls and probes the senses; its lumbering gait dignified yet threatening as sonic flames circle over the smouldering venom you feel brewing within. The track never veers from the object of its steely glaze, twisted vocals adding their evocative narrative to the unmovable intent of sound and intensity. Waves of urgency and muscular intimidation ebb and flow across the track, never diverting it from its focus, the masterful and magnetic repetitious core as infectious as the guitar craft and fiery atmospheres around it.

The closing V opens as its predecessor and with a more voracious and vicious volition emulates its unbridled and unyielding persecution of its recipient. It is only part of the story though as haunting and ingeniously warped twists of the opening vocal harmonies bring a blackened angelic colour to the pestilential glory of the track, whilst there is a general discordance to the tone and heart of the excellent track which draws a rich submission.

Prophetae is not a kind or easy listen but unreservedly rewarding, a full stimulation to thoughts and emotions. There are moments where the album has an arguably unadventurous evolution across tracks which are for the main 10 to 11 minutes long, deviations in sonic and imposing scenery minimal but such the power and potency of the bait it does not become obvious until hindsight kicks in. The album is an absorbing triumph nevertheless and Primal a proposition which deserves proper attention.

Prophetae is available through Q.E.V.Productions/The End Of Time Records now.

http://primalband.bandcamp.com/

8/10

RingMaster 22/04/2014

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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Nihilistinen Barbaarisuus – Synkkä Tuuli / Väinämöinen EP

 original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old


original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old

Creating an aural blizzard within which you can feel skin and senses being flayed by artic spite and stark winds, US atmospheric black metallers Nihilistinen Barbaarisuus is one of the propositions not many know of yet but should make the time to bravely investigate. Which is why we are looking at their debut album Synkkä Tuuli and the since released VäinämöinenEP. The Philadelphia band is one of the rawest encounters in intent and presence you are likely to hear at the moment but one which below its tempestuous emotional wastelands breeds a virulent intrigue which binds attention and appetite. Neither of their releases are an easy listen or kind experiences but both leave you wanting more with the thought that given the chance recording wise they have the potential to be a commanding force.

Formed in 2012, Nihilistinen Barbaarisuus was initially a trio of vocalist, bassist, and synth player, M.W.S. (Serpent ov Old) with guitarists Mika Mage and Manuel Rodriguez. A self-titled demo appeared their first year followed by Synkkä Tuuli in 2013. Following its release both Rodriguez and M.W.S. left the band leaving Mage the sole force behind the band and the Väinämöinen EP. Before then though Synkkä Tuuli drew good attention and reactions for its intensively expressive and intrusive presence which is no surprise once immersed in its sonically caustic cold and ambient frost.

The album opens with the two parts of Ylittäen Jäätyneen Pohjoisen; the first opening with footsteps through crunchy snow as wind Nihilistinen Barbaarisuus coverbites at the senses and an increasingly brewing intensive atmosphere chills bone and air further. With rhythms urgently imposing, guitars swarm over the senses, their touch restrained but sinister and icy. Courted by dark bass lines and the haunted squalls of vocals, the track is a smothering tempest but with a melodic and drone bred seduction which tempers the corrosive breath of the piece. Shivers run down the spine throughout until a respite mid-way brings a melodic beauty and peace to the track, it’s still cold hands caressing the imagination whilst offering a sheltering incitement before a venture back into a tortuous climate within part II. The second part if anything is harsher and more destructive than its predecessor, the climate a vicious antagonist but its beauty more evocative whilst its landscape moves from being an aggressive predator to a portentous siren, danger and emotive sufferance never diminishing in the heart of the track.

The production on the album is as abrading and raw as the sounds, never giving an inch to the senses and at times almost suffocating the sculpted melodies of the songs. It is in many ways a demo quality glaze adding extra harsh textures to tracks but as shown with the wonderful Itämeri Anomalia it never stands in the way of the beauty within the release. A lone acoustic guitar emerges from a wave buffeted beach, its melancholic breath and radiance irresistible and refreshing as keys and further stringed elegance paints a skilled and mesmeric canvas,

That scenic passage is soon submerged under another pestilential storm as firstly the dulled yet appealing Anhedonia erupts across the ears to be followed by the exploration of Arktinen Välisoitto. The first of the two erodes the senses from first second to last, allowing no escape from its intensity whilst its successor opens on an acidic ambience, keys soaring gracefully through its emotive soundscape. The instrumental is delicious, an aural travelogue of emotions which again shows the craft and invention of the composing as well as that of the band members, and to be honest it is these moments where Nihilistinen Barbaarisuus really shine the most.

The release is completed by the rapacious uncompromising stroll of the title track, a song which preys on the senses with curt rhythms and toxic vocals whilst soothing them with mellow expressive keys, and finally the dark instrumental Ketamiini, a piece which is as seemingly venomous as it is radiant.

Nihilistinen Barbaarisuus cover 2   It is a testing album but a highly rewarding one, as is the Väinämöinen EP. With the band now just Mage, though he does invite guest contributions from the returning M.W.S. on bass, Lawrence Wallace (Shadows in the Crypt, Lawrence’s Creation) on keys and drum programming, as well as James McClellan Dorton III (Nightfire, Antikythera, ex-Shadows in the Crypt) on vocals, the two track release is equally as dark and sonically ravenous as its predecessor. The vocals though are allowed a greater clarity within the tsunami of intensity and sound whilst production also finds a more open presence for the songs. The title track marauds over the senses first, the cold expanses of the album revisited again but with a more intimate and precise investigation. Across the rare atmosphere and vitriolic weather of the song, bass and guitars converge in a corrosion intended union but also make their own individual frost bitten temptations for a stronger and more compelling adventure than found on the album.

Second track Yo Jolloin Han Kuoli finds the skills of Mage caressing the imagination once again, his acoustic craft and storytelling a riveting incitement which relishes the emotional colour it brings alone or within the courting of similarly descriptive keys. It is a mouthwatering close to the EP, leaving a lingering warm and thrilled impression of release and band.

If you are looking for something acerbically fresh and raw from an emerging force with the potential to blossom into a quite breath-taking and remarkable proposition, then taking a look at Nihilistinen Barbaarisuus is definitely a strong suggestion. Whether they realise their promise time will tell but you imagine it will be a rewarding time watching and listening.

Synkkä Tuuli is available now on Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd062.html

The Väinämöinen EP is available from Infernal Kommando Records as a limited edition cassette and can be downloaded for free from http://gunshyassassin.com/news/exclusive-nihilistinen-barbaarisuus-stream-and-download-vainamoinen/

Synkkä Tuuli 8/10 Väinämöinen EP 8.5/10

RingMaster 2/04/2014

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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