Morbid Slaughter – Wicca

MORBID SLAUGHTER BAND

On the evidence of their new 7” vinyl release, there is something definitely compelling about being examined by the exacting thrash fuelled black metal malevolence of Peruvian metallers Morbid Slaughter. They have a sound which is vociferously raw and rigorously invasive and taking the two tracks within new release Wicca as an introduction, magnetically riveting.

Formed in 2009, Morbid Slaughter explores themes of horror, witchcraft, and murder in their encounters, earning a potent reputation in South American metal and apparently in Atlanta. The Lima quartet of vocalist/guitarist AER, bassist TERRA, guitarist IGNIS, and drummer AQVA unleashed their first demo release, Ensayo in 2010 followed two years later by the Torment in the Crypt Demo and last year The Summoning of the Graveyard Ghouls Demo. 2014 has seen already the …Rancid Death Awaits 2014… album released, a compilation of the previous two EPs on Putrid Cult but it is the new Boris Records released Wicca which excites as the band has their first release to be offered to the world.

The title track starts things off and within a breath has ears up against an eager and vibrant scrub of riffs. Crisp punchy rhythms add to the MS_Wicca_7inch_cover_artbrawl which is already squaring up to the senses, their union with the bass a relentless rapacious antagonism. It is unfussy thrash metal roaring in the ears but one seeping blackened malevolence especially in atmosphere and through the serpentine vocal rasps. It is not a perfect proposition, the vocals of AER across both songs simultaneously agreeable yet a little off-putting but to all extent and purposes do convince after numerous forays into the pit of the release, though personal taste still has a little reservation. Also the production is not the best, suffocating the spark of the songs in many ways stopping them from flaring as you feel they should, but to be fair the first song is a festering storm of metal sculpted rock ‘n’ roll which recruits a hungry appetite for its highly satisfying incitement.

The insidious contagion and malicious intent of Wicca is followed by The Nightly Breath of God, another track which reaches from the dank blood sodden earth with a thrash spawned pestilential voice and heart. Riffs and grooves coax the passions with further impressive bait whilst rhythms splinter bone and air with swinging spite as the psyche grasping vocals crawl over thoughts and emotions with toxic syllables and raging rabidity. It is a great track which as its predecessor, survives the obstacle of the production to impress and inflame a real appetite for the band and its sound.

Morbid Slaughter is a thrilling and enthralling encounter, the perfect protagonists and soundtrack providers for a truly vicious adult version of Tales From the Crypt or Night of The living Dead in our view, and a sonic plague easy to recommend extreme metallers and fans of bands such as Sabbat, Carpathian Forest, and Sarcofago allowing to venomously finger their attention.

Wicca is available via Boris Records @ http://borisrecords.bandcamp.com/album/wicca-7

https://www.facebook.com/MorbidSlaughterOfficial

8/10

RingMaster 31/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Hellgoat – End of Man

Hellgoat_cover_art

If Satan needs a doorway into the soul of the world, US black metallers Hellgoat might just be the perfect vehicle for his malevolence and their new 7” vinyl release End of Man, the pestilential voice to start things off. Consisting of two raw, merciless slices of destructive voracity, the release is the jaws of hell in sonic form.

Hailing from Atlanta, the 2004 formed Hellgoat has been feasting on ears and fears with their satanic brutality from first release, the self-titled demo of that first year. Their uncompromising sound and blasphemous toxicity made a more potent statement in attention with debut album Blasphemy From Serpent Tongues in 2005 and its Graveless Slumber Records released successor, Death Conquers All six years later. End of Man is the band’s seventh release following the Anointed in Blood and Ash EP of 2012, the first on Boris Records and comes ahead of a new album planned for later in the year.

First track Demonic Worship of the Horned Beast emerges from a low key sonic mist, a slow evocative breeze which takes its time to envelop the senses whilst being punctured by resonating rhythms. A chant of holy portentous communion breaks into the brewing design before hell unleashes its venom in an expulsion of annihilation, history erupting in torment as scenic ravaging from the crusades through to the streets of modern civilisation seemingly falling on ears. Riffs descend with heavily weighted design next as the track finally expands its presence, a funereal doom soaked voracity swamping ears and senses before the uncaging of hellish intensity and rapacious urgency, the release of a scourge in sound and intent. It is a demanding and intensely abrasing torrent of causticity, slight grooves as hostile and scarring as the spiteful blaze of sonic brutality and rhythmic bludgeoning. It is not an easy listen but a track with a drama and skilful temptation which is thoroughly compelling and providing more understanding and bait for the imagination to feast upon with each listen.

The release’s narrative is continued and concluded with its title track, a blistering savagery of sonic abuse which is primitively wild and masterfully malicious, and a far more crippling proposition than its predecessor. There is plenty going on within its belly and cavernous depths but beneath the tempestuous tsunami of sonic rabidity it is a hidden adventure which needs the fullness of time to reap its rewards. The track still captivates though, the rasping vocal blaze and scarring animosity a gripping vicious predation though it does not come near to matching the rigorous appeal of its predecessor.

Hellgoat is an incitement which is not for everyone, black metal from the richest infernal fire clad in its rawest barbarity with End of Man the death knell for us all before the anticipated decimating ferocity of the band’s next full-length demonian.

End of Man is available on Boris Records now @ http://borisrecords.bandcamp.com/album/end-of-man-7

https://www.facebook.com/pages/Hellgoat/359498710801448

7.5/10

RingMaster 31/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Hollow – Mordrake

Hollow - Press Photo

There are some debut albums which impress, some which raise a depth of excitement sparking a long term connection, and then there are some like Mordrake from Canadian death metallers Hollow which simply have you shouting feverishly from the rooftops. The release is an extraordinary maelstrom of startling invention, mouthwatering imagination, and enslaving hostility which simply blows thoughts and passions away. There has been talk of great things about the Montreal quartet from their live performances and previous release, the six track EP Cynoptic Eschaton, but it is fair to say we were not expecting something so devastatingly brilliant for our first introduction to the band.

Formed in 2009, Hollow has earned a fine reputation and potent presence across Québec and Ontario moving across their homeland through their live incitements which has seen them excel alongside the likes of Voïvod, Suffocation, Sword, Jungle Rot, Iwrestledabearonce, Blackguard, The Agonist, Beyond Creation, Marduk, 1349, Tyr, Orphaned Land, and many many more. Cynoptic Eschaton drew further strong acclaim and attention with its release in 2010 which Mordrake is sure to emulate in much greater strength and expansion. Bringing new character to some of the tracks on the previous EP and plenty more new breath-taking encounters within its twelve song body, the Kevin Jardine (Slaves on Dope) produced, with Dan Lauzon (Entropy) and the band, album was recorded with an uncluttered ‘analogue’ like approach which brings a raw and honest dimension to the proposition allowing music and individual craft to paint a stunning fiercely textured adventure.

Opener Lament Configuration emerges upon a sonic prowl which is almost lumbering in its gait and thoroughly engrossing in its Album Cover - Hollow - Mordrake 2014 - smallsearching sonic exploration over the senses, the fingers and strings of guitarist Cadaver already capturing firm attention. Pungent rhythms add to the portentous tension brewing within the dramatic coaxing whilst orchestral melodies and harmonies soak the oppressive atmosphere lying thickly over the evolving scenery. Eventually the band step from the initial evocative smog with a surging stride of riffs and concussive beats from Blaac which vocalist Mott roars over with every muscle of his malevolence. It is an impossibly contagious charge which is just as compelling in its imaginative twists and enticements, not forgetting individual skills, as in its turbulent catchiness. The track is the thrilling declaration of things to come, a tempest of bewitching ingenuity and lethal aggression within a blackened pestilential beauty of sound and creative intent.

It is a staggering start which both Cryptic Howling and A New Life explosively reinforce. The first is a voracious torrent of rhythmic rabidity matched by an unbridled hunger in riffs and outstanding vocals, Mott gloriously unpredictable in his venomously corrosive varied delivery. Within the scourging onslaught, bassist Snow finds an even more intensive bestial voice from his strings to add to the hellacious web, a tone which is as at home sculpting a carnal texture to the vitriolic attack as it crafting deliciously haunting lures to the enthralling melodic hues which seduce robustly later in the track. The track is a severe examination of senses and psyche with more riveting rewards in its single body than most death metal bred albums offer across their full lengths, a treat repeated by its predecessor. Entwining ears in a climbing vine of sonic imagination which is soon under a tsunami of pungent antagonistic intensity and ravenous enterprise, the track adds to its surprises with contagious grooves which lead to a heavy metal endeavour beneath a symphonically seeded elegance. This is all around a heart which is predatory in the extreme and soaked in a simply irresistible rapacious appetite.

It should be noted that whatever description tracks are given here they only hint at the whole picture, so much going on and being sculpted that it is impossible to truly represent their brilliance and impossible to take all in on just a few encounters ensuring the album is a constantly giving proposition with every assault. The next up rampage of Landscape is instant proof, its ferocious vehemence in sound, vocals, and imagination a senses eroding, thought provoking ruin which wrongs foot with majestically flighted harmonies of keys casting seducing melodies. As ever it is just a twist in the soundscape of the song’s blisteringly shaped and exposed narrative, the track a purposeful sublimely designed meander that chains mind and soul from start to finish, whilst lorded over by the just as impressive vocal diversity of Mott, more of which coming later.

The pair of Iscariot and Sunriser throws senses and imagination into further exacting furies, both again intensive weaves of addictive hooks and toxic grooves upon exhaustingly adventurous and demanding canvases. As with every track on Mordrake, each is a distinct individual with the first finding a poetical grace in the keys within a uncompromising plague of voracity whilst Mott brings a brief but just as impressive clean twist to his vocals amidst another range of guttural and poisonously squalling growls. It is a glorious track which is followed by the just as staggering triumph of Sunriser, clean vocals given another outing whilst standing in a storm of demonic toxins from the raw throat of the frontman. The bass of Snow is also a real highlight in the foreboding drenched climatic air of the song, though to be fair to all the encounter is a scintillating blur of inventive animosity and imaginative pestilence for which all deserve the outmost credit.

     The emotively driven Vlad comes next, a track we assume inspired by a former band member from the band’s first days who passed away unexpectantly. With keys and violins an insatiable seduction, the song is another which rabidly suffocates as it inflames senses and emotions before making way for the provocative epidemic of sound and fascination that is Anomie, a track bringing orchestral flumes into an entanglement with heavy metal wantonness; keys, bass, and guitars conspirators in a savagely hued, magnetically cultured creative virus.

Generally in an album so incredibly gripping and awe striking there are going to be lulls or weaker moments but honestly Mordrake holds no such inventive languor, the following innovatory alchemy of both the chilled Snow where those cleaner tones of Mott are given extra time and the hypnotic maze of Birth, rhythmically and sonically as spellbinding as anything on the release. The same applies to closing tracks Hate and Death, two final incendiary expanses of fertile minds and musical ingenuity.

Mordrake is simply remarkable, one of the most promethean debuts in a long time and certainly within death metal this year, though Hollow have a sound and presence which you cannot confine to a single genre or singular mind-set. A brilliant album from a brilliant band, what more do you need to know?

The self-released Mordrake is available via http://hollowcanada.bandcamp.com/album/mordrake

http://hollowofficial.com/

10/10

RingMaster 30/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

 

 

Svartna – Long Time Lost EP

   SVARTNA_longtimelost_1400x1400

Crafting an experience which is just as potent on the ears and emotions as it is visually on the imagination, the Long Time Lost EP from Finnish rock band Svartna is one of those propositions you just immerse within without reservation. It is a mesmeric fascination of sound and feeling which envelops and consumes attention and thoughts, a rich emotive flight unafraid to court its shadows as deeply as its beauty whilst providing an absorbing canvas for the bewitching voice of project founder Janica Lönn, who has previously worked with Black Sun Aeon.

Svartna emerged to the end of 2012 within the thoughts of Lönn, its intent as an audio-visual creation already and to some extent secretively laying seeds within the artist across almost a decade of musical invention and realisation up to that point. Concentrating solely on the new adventure and fusing her love of photography and crafting new ventures into its music, Lönn has conjured a debut which invests the invigorating essences of rock and metal with a pop infectiousness, the result a trio of songs which merges numerous styles and flavours into startling and gripping melodic landscapes coloured by rich sonic textures and heavy emotional breath.

Evocative melancholic keys open up first song No Signs of Life. Already the heart of the track and its narrative are caressing ears before the elegant smouldering tones of Lönn and an orchestral ambience glide into the emerging picture. It is a symphonic seeded suasion which to its seductive coaxing brings a shadowed clad drama and to its expanding scenery slightly sinister whispers. Bass and guitars offer a subdued but clear snarl to the emotive beauty washing the senses too whilst the increasingly sirenesque vocals and poetic melodies ignite the imagination, the full incitement of the song coming with a broad and climatic wind which drives the compelling expulsions at the heart of the song. The track is a masterful musical canvas for the lyrical and vocal melodrama, a picture which evolves with every chord and flume of sonic endeavour. It is quite glorious and never falls into the over blown realms so many bands and artists find when emotions and passions align with orchestrated invention and epic tempestuous structures; at times it is almost earthy and certainly surprisingly intimate in the throes of its fullest impacting voice.

From the outstanding start Cornered by Death takes up the reins of the release’s persuasion next, again keys sculpting the initial premise as rhythms play within their graceful countenance. The song glides into view in comparison to its predecessor, keys and vocals the warm initial sun upon ears and thoughts before a stormier yet still relatively unthreatening swell of heavy intensity, rapacious riffs, and prowling rhythms cloud the simmering emotional flight below. Once more it is offers a powerfully evocative aural sight though it is with the subsequent enthralling crafting of the guitars that the song truly comes alive; their lyrical designs virulently tempting even in their brief shaft of light before the full body of the song comes over senses and emotions once again. Though not matching the opening triumph, the track is a transfixing and exhilarating creative soundscape.

The EP closes with Worlds Apart, its entrance emulating the previous pair in being shaped by keys and vocals alone. To be honest there is a little disappointment that it does not bring a completely different first touch to the ears compared to elsewhere but a thought soon forgotten as the breath-taking voice of Lönn and a sinew built range of rhythms roam the expressive radiance flaming over the senses through the provocative keys, blazing guitars, and always the persistently striking voice of Lönn. It is an ambrosial conclusion to a fascinating and sublime release from an artist and band which are surely destined to seduce ears and acclaim for a long time on this evidence.

Long Time Lost EP is available through Violent Journey Records now!

www.svartna.com

9/10

RingMaster 30/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Anti Nowhere League/The Damn Garrison – Split EP

OB-GD17D.pdf

As criticised as they were praised in many quarters from their first days for their true DIY punk simplicity and unpolished confrontational often salacious musical craft and attitude, UK punk legends Anti Nowhere League soon outrode their critics to become one of the most loved antagonists. A new split through Rebel Sound release sees the band at their adversarial inhospitable best alongside New Hampshire Oi punks The Damn Garrison, a union made in middle finger heaven. The link up makes for four tracks of punk rock which are as soaked in aggression and mischief as in anthemic provocation, and on the Anti Nowhere League side unbridled irreverence. They are a quartet of tracks which unreservedly feed the base desires of all punk fans.

The first pair of songs provided by Anti Nowhere League are a couple which previously could only be found on their Pig Iron CD and tracks which Captain Oi refused to release. Day The World Turned Gay pulls no punches as it uncages potent hooks and insatiable grooves into a mesh of punk rock causticity lyrically and sonically straight away. The Tunbridge Wells quartet of vocalist Animal, guitarist Tommy, bassist Shady, and drummer Nato, cast a riff and rhythmic slavery which is simply prime punk rock. Certainly the song is not touching new plateaus in originality of band or scene but equally it is virulent choice ANL which stands apart wantonly and excitingly from the rest. Its might is replicated and increased by the following The Adventures Of Peter Vile, of course another song with no regard and blinkers to ‘boundaries’, going places where most fear even contemplating. Once again a weave of intrusive hooks and riling riffs create a web of ridiculously catchy bait to which vocals unfurl an equally riveting, irreverent, and forcibly honest narrative. Again it is what you expect an ANL track to be and stand up as, and again a wholly invigorating provocation reminding just how important and rigorously rewarding the band has been and still is to a great many of us.

Hailing from Dover, N.H. and formed in the summer of 2012, The Damn Garrison has swiftly made their presence a potent and thrilling one OB-GD17D.pdfon stage where they have played with the likes of Murphys Law, Infa Riot, The Warriors, Bishops Green, Evil Conduct and many more and through their four track 7” release through Arrest Records, Unsung Heroes. Consisting of vocalist Mike Day, guitarists Ritchie and Sammy Plante, bassist James Morin, and drummer Chad Lafrance, the quintet instantly unleash a thick infectious anthem of a bruising on the split with The Real Ones. An intensely coaxing bassline and crisp beats sets things in motion, their strong bait scythed through with thrusts of guitar. It is an immediately enticing affair which increases its call with a raw scowl of vocals which enter the fray as the track settles into a voracious charge, group shouts and juicy hooks adding extra spice to the temptation. As with the ANL tracks, the band is not forging new avenues but certainly lying fresh addictive and thrilling designs on to an established template.

The band’s second track Pride & Honor again leads with a great bass enticement which is soon smothered with irritable beats and rowdy riffs matched by excellent vocal squalls, singularly and as a group. As great as both songs are it must be admitted, as suckers for toxic basslines with as much groove and infectiousness to them as contagious spite, that Morin steals the passions in what are wonderfully fiery and contentiously evocative songs. Again stacked to the gills with hooks and raging riffs, the track rampages into the passions with merciless efficiency matching its partner track, and the incitements of their cohorts in crime upon the release, in exhausting punk bred appetites.

Two great bands birthed in different eras but united in sculpting strenuously exciting punk revelry across four outstanding tracks, the split is a mouthwatering stomp confirming the lingering adversarial might of Anti Nowhere League and announcing an emerging force in The Damn Garrison; another slice of evidence that world punk is possibly heading to another major heyday.

Anti Nowhere League/The Damn Garrison Split EP is available @ http://www.rebelsoundrecords.com on vinyl (200 Black vinyl, 200 Halloween Orange vinyl, 100 Lime Green vinyl).

https://www.facebook.com/antinowhereleague

https://www.facebook.com/TheDamnGarrisonoi

9/10

RingMaster 30/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Tree Dwellers – Come Up and See

Picture 18

    Tree Dwellers is a Manchester father and son partnership of whom we can reveal very little but what is openly apparent through the UK duo’s new single Come Up and See, is that they have a sound and presence which just feeds imagination and emotions with enthralling creativity. Brewing up an evocative and vivacious sound from a fusion of electronic spices with rock and funk juices, the band certainly on the evidence of their new release casts a festivity of sound and adventure which entices with organic bait.

Consisting of Mark and Jake Haslam, Tree Dwellers have the intent and vision to stretch and explore the boundaries between funk and electronica, enriching their exploration as shown on the single with exotic rhythms and highly vocal melodic ambiences. The result is a sound and release which takes thoughts on a sultry colourful adventure whilst providing a narration which sways and seduces like an erotic temptress within the captivating instrumental. As well as the single, the band appears on Melted ONE, a compilation featuring a range of artists who are uniting to raise money for Macmillan Cancer Support and The Teenage Cancer Trust; all the profits from its sale being donated to both charities.

Guitar and oriental words open up the emerging proposition, their instantly compelling lure soon reinforced by agitated scrubs of guitar and bass before everything falls into the arms of an elegance breeze of synths which with an almost glancing touch is itself infused with funk spawned enterprise from the guitars and bass. It is an intriguing picture with expanding hues but it is the joining of glorious mouthwatering strings with a shadowed almost growling tone to their beauty which ignites the imagination and passions without restraint. They make a gripping expressive attraction to the already enthralling scenery, steering the imagination into another thick evocative venture. With rhythms and a percussive dance which are chilled to their core and a smouldering glaze of melodic flames courting the flight of the colourful tango, the single is a delicious incitement and a piece of music which surely should find a place in the soundtrack of an upcoming World Cup presentation.

As said at the start, there is not much we can unveil about Tree Dwellers but plenty about their single to spark real eager anticipation of their future journeys and bewitchments.

The Melted ONE released Come Up and See is available digitally now on iTunes.

https://www.facebook.com/pages/Tree-Dwellers/1432174900357297

8.5/10

RingMaster 30/05/2014

Copyright RingMaster: MyFreeCopyright

<iframe width=”100%” height=”450″ scrolling=”no” frameborder=”no” src=”https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/149848508&auto_play=false&hide_related=false&visual=true”>

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

http://www.audioburger.com

Scourge – Hate Metal

Scourge 2

Driving imagination and emotions into the darkest pestilential depths of hell and extreme metal, Brazilian death metallers Scourge unleash their new merciless and ravenous incitement in the venomous shape of Hate Metal. Eight tracks of unbridled filth clad hostility and invention, the release is an invigorating savaging seeded in the first insidious breath of the Brazilian death metal scene. It is vicious and sadistic, an antidote to the “False Metal that still abounds in extreme music worldwide”, and rigorously compelling. Band and album has no interest in creeping into an adventure outside of straight-up death metal but at the same time still creates an imaginative skilled exploit within its ‘confines’ which is venomously varied and uncontrollably captivating, and making a new statement for a well-trodden but always magnetic scene.

Formed in 2007 and hailing from Uberlandia, in the state of Minas Gerais, itself a breeding place of great extreme metal and bands, Scourge made their first strong declaration with debut album …On the Sin, Death, Lust, and Hate… in 2010, a release produced by Gerald Incubus of Sarcofago. The band now uncages its second assault on the senses and modern metal with Hate Metal, an onslaught of spiteful sound and ideation again attacking humankind’s deepest perversions and more.

Produced by the band and Rodrigo Nepomuceno, Hate Metal opens up with a storm fuelled intro, howling winds and funereal breath a Scourge Hate Metal Coverclimatic and messy portentous death knell of the strains of metal they loathe and our souls. It is an intriguing maelstrom of sound and drama which passes by for the instantly carnivorous presence and voice of Sentenced to Die to consume ears and emotions. Within seconds the guitars of Pretho Souto and Mauricio Conçalves have captured the imagination either with predatory riffing or sonic malevolence whilst the rhythmic antagonism of drummer William Santos and bassist Juarez Távora assault and stalk the senses respectively. Driven intensely by the raw guttural growls of Távora, the track permeates and envelops with unbridled malice and invention. It twists in gait and energy throughout its enthralling body, predictability as scarce as mercy in the riveting premise.

It is an impressive start swiftly matched by The Bread that God Crushed, its opening caress of acidic guitar amidst a reserved yet concussive scatter of percussion the perfect coaxing as thoughts and appetite increase their willingness to immerse in the dark encounter. Featuring guest vocals from Wagner Antichrist (ex-Sarcofago and Sepultura), the song from a tenderly start erupts in a torrential malevolence of sadistic beats and scarring riffs. It is a hellacious tempest racked with magnetic sparks and short grooves of melodic causticity which entwine tightly around the ears. It is a bewitching proposition even though its fury is held in rein for the main for a more toxic seduction than found on tracks like the following Angels of Wrath. The third incitement is glorious, from its first breath a mouthwatering provocation of iron tempered rhythms and skin scorching sonics. The richest ferocity is unleashed on the track; its destructive guitar sculpted flumes a treacherous ride for psyche and emotions which the threatening gut bred scowls of Távora openly revel in. The track proceeds to expel grooves and hooks which are as contagious as they are inhospitable whilst both Santos and the strings of the vocalist obliterate air and resistance with their unchecked rancor. It is a mouthwatering triumph, every twist and new detour within its ruinous presence surprising and thrilling whilst the individual craft of each band member adds additional flaming flourishes to the success.

Both Orgy in Paradise and Sacrifice of the Dead keep the new plateau for the album at its lofty height, though neither can quite equal the brilliance of their predecessor. The first of the two is an invidious prowl of oppressive riffs and demanding intensity speared by again inescapable swipes from Santos whilst both Souto and Conçalves vein the tempestuous aural malignancy with infection drenched evocative designs. It is another major highlight of the release, admittedly one amongst many, which is straight away outshone by its successor. As soon as niggling waspish grooves worry the senses within a titan like parade of rhythms, there is a flush of excitement firing up an already healthy hunger for the album. That irresistible temptation never releases its hold as the track builds and hits the senses like a grudge bred avalanche, the vocals a demonic instigator from the heart of the cruelty led predation. It is a beast of a track which finds time to add a web of melodic toxins which only accentuate its vicious beauty and raging disgust.

The Ancient Ritual of Death, with a heavily textured throaty bassline which is just delicious to the ear, steals attention next; it’s opening another which simply absorbs and enslaves body and mind from the first second. Into its full vat of aural vindictiveness, the track slips slightly in its attempt to match previous tracks but with floods of riling riffs and bone splintering rhythms charging persistently across the senses and bass and vocals combined opening up the cavernous depths of vitriol and animosity, the song is never less than gripping and impressively rewarding.

My Hate, My Dreams, My Revenge brings a new side to album and band, its melodic beauty and atmospheric elegance aligned to demon spawned vocal enmity bewitching. The song as the others never settles in one overriding scenery, its peaceful grandeur becoming an exhausting fire of uncompromising tension and smouldering grace before a finale which spews musical and lyrical hate.

Closing with the devastating title track, an anthemic call to brutal arms, Hate Metal is a commanding and thrilling antagonist. Certainly a must for all with a taste for the likes of Sarcofago, Bathory, and Blasphemy, the release declares Scourge as a new important protagonist of undiluted death metal.

Hate Metal is released in conjunction with USA’s Greyhaze Records and Brazil’s Cogumelo Records and available via http://greyhazerecords.bandcamp.com/album/hate-metal

https://www.facebook.com/scourgehate

8.5/10

RingMaster 28/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com