Gluttony – Beyond The Veil of Flesh

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Not stocked up with big surprises but certainly offering enough to keep expectation feeding a limited exercise, Beyond The Veil of Flesh the debut album from Swedish death metallers Gluttony, is a voraciously intensive provocation which leaves needs and wants from an extreme metal release thoroughly satisfied. Bred and staying tightly to the origins of their country’s death metal scene, the eight track foraging of the senses is a rigorously carnivorous and accomplished slab of deathly predation; a release unafraid to thrust a vicious rhythmic knife laden with annihilatory riffing to the soul before twisting it around and around with the most virulently addictive grooves. As mentioned it is not a release to leave originality raging through the veins but definitely one to ignite a blaze of passion and pleasure from its unfussy and uncompromising enterprise.

Gluttony was formed in 2009 by guitarist Anders Härén of My Own Grave as a solo project. Subsequently linking up with fellow band members from his main band in bassist Max Bergman and drummer John Henriksson, the new project recorded the Coffinborn demo. Initially vocals were handled by Härén but unhappy with the results, Gluttony enlisted vocalist Johan Jansson (Interment, Regurgitate, ex-Demonical) for the 2012 release, though a cover of Paint It Black on the record features Härén on vocals. Two of the tracks from the demo, Coffinborn and Eaten Alive, were released a year later as the Eaten Alive EP on Metal Fortress Entertainment. The same year saw the band sign with Vic Records for their debut album, the recording of which saw the departure of Jansson due to the long distances needed to be covered by the vocalist, Magnus Ödling (Setherial, ex-Diabolical) coming in to replace him. Mixed and mastered by Dan Swanö (Edge Of Sanity, Bloodbath), and wrapped in great cover art from US cult horror comics artist Jeff Zornow, Beyond The Veil Of Flesh is an encounter sure to draw eager attention and deserved appetite to the band and its primal sound.

The Revenant opens up the graveyard carnage and instantly is smothering the ears in ravenous riffs and crippling rhythms as the Glutony Coverguttural malice of Ödling crawls venomously over the senses. It is a heavyweight pressure which has attention wide awake and imagination cowering in its pestilential drama. Within this though spears of acidic short and longer vivaciously winding grooves vein and ignite the passions, it all converging into one torrential tempest of raw and rabid incitement. It is a masterful entrance into the release, portentous and magnetic bait which the following title track emulates in its own malicious sonic tyranny. Though still squeezing out grooved enticements the track is a darker slice of rapacious causticity than its predecessor, its tempestuous corrosion of sound heavier in intensity and broader in ruinous endeavour. Henriksson is a rabid task master with his swinging beats whilst vocally Ödling crawls with demonic intent but it is the creative toxicity of Härén which steals the show.

Next up Eaten Alive stalks with depraved intent within its laboured gait but is soon throwing out its own contagious grooves inciting body and passions to stomp just as venomously. The ridiculously dark throated call of Bergman’s bass simply inspires the imagination from within the brawling provocation of the song whilst the predacious snarl and gnaw of the guitar provides a colour to the fearsome narrative which is every bewitching shade of black. Whether it is right to say or not but the song is also ridiculously anthemic though these jaws have yet to taste flesh.

Both Raise the Dead and Coffinborn unleash severe expulsions of brutality, the first providing an exhaustive unrelenting grind of niggling grooves and gorging riffs plundered by carnal rhythms whilst its successor with similar voracity worms its rancorous toxin of chunky riffs and spiteful grooving into the psyche to seduce and savage with simultaneously untethered contempt. As with all songs, Gluttony have a glorious ability to have their songs stalking and prowling the listener’s inner depths whilst still producing a swagger which enlists the fullest physical and emotional allegiance as proven again by Post Mortem Decapitation. In comparison to other songs, the rhythms at the start of the fury are almost kind in their assault though that soon changes as the ferocity of the guitars and bass release their hateful enterprise. Vocals again are as pleasingly nasty and primitive as the erosive rampage around them, a vindictive stew of hostility which helps the track brew the pinnacle of the album.

The release is completed by firstly the just as insatiably riveting And Then You Rot and lastly the pestiferous On the Slab. The first of the pair is a senses embalming pestilence which is as unforgiving as it is magnetically persuasive though it lacks the spark of certainly the previous couple of songs, whilst the closing track is another to seep predator like into pores and thoughts like an insidious malady where it then expels all the addictive inhospitable energy and infectious creativity you could wish for. It is a tremendous finale to a thoroughly captivating and thrilling encounter. Yes there is little new breaking through from within Beyond The Veil of Flesh yet plenty to put hordes of fellow old school explorers in the shade, but truthfully when it sounds this good who cares anyway.

Beyond The Veil of Flesh is available through Vic Records @ http://www.vicrecords.com/ now!

http://gluttony.se/

8.5/10

RingMaster 27/05/2014

Copyright RingMaster: MyFreeCopyright

 

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Sabbatory – Endless Asphyxiating Gloom

sabbatory band pic

Openly bred from the origins of death metal, Canadian metallers Sabbatory is a proposition which on the evidence of debut album Endless Asphyxiating Gloom has plenty more in its arsenal than just a sound spawned from the genre’s first pestilential blooming. The release is an unrelenting brew of adventure and ideation in which each song is a full to the rim continually revealing web of fascination and creative malevolence. Its tracks expand and breathe with a riveting adventurous intent; it is not jammed with ground-breaking offerings but certainly exposes a resourceful endeavour which gives a fresh strain of toxicity to vintage death metal.

Hailing from Winnipeg and consisting of vocalist/guitarist Kier Keating, guitarist Marshal Fries, bassist Nick Tober, and drummer Dan Ryckman, Sabbatory has earned a strong reputation at home for their impressive live performances. Including members who have played in numerous other local bands including death thrashers Besieged, the quartet is poised to take their sound and potent presence into the jaws of the world with Endless Asphyxiating Gloom and it is hard to see them failing to ignite a more intensive spotlight upon their emerging cast of inventive sonic ferocity.

A rabid assault of drums marks the entrance of opener Being, Thy Eternal Perplexor, a potent lure soon joined by ravenous riffs sabbatory coverwhich in turn sparks a tsunami effect in the attack of Ryckman who not for the last time impresses strenuously. Entwining grooves need little encouragement to colour the expanding tempest next whilst vocally Keating is as grizzly in tone as he is malevolent. It is a gripping persistently evolving incitement which though as mentioned it hardly strays from established landscapes, it is as unpredictable and intriguing as you could imagine and wish within its impressive template. Though within five minutes in length the song, and album as a whole, is a blistering and exhaustive web of predatory design and skilful sonic narration easily sparking imagination and passions to delve deeper.

From the outstanding start the album kicks up another gear with Hypnotic Regression, its opening punk infused opening of bass and drums veined by a sonic toxin instantly irresistible. Still retaining that initial animosity and bait, the track proceeds to unleash a rapacious stalking of wonderfully niggling riffs with groove linked hues whilst Ryckman again uncages a torrent of skill and hostility which leaves the mouthwatering and senses reeling. Crawling, prowling, and charging head down within again a persistently shifting premise, the track simply seduces and enslaves thoughts and passions through skilled and imaginative enterprise. It is a weave which is not over indulgent or too hungry to impress but does so nevertheless because of its modest yet ferocious adventure and ideation. It is the best track on the release and combined with its predecessor reveals the strength and some of the still untapped potential of the band.

The intensive Corrosive Decay, whose presence definitely is described perfectly by its title, comes next and though maybe and inevitably it pales against the previous songs, the track and all its attributes converges on ears and senses like a devouring sonic banshee. Within its insidious deathly howl though the track explores rhythmic scenery which is hypnotic in its spite and craft whilst its barrage is wound around by an acerbic tapestry of grooves and acidic hooks which dig and linger venomously. The song makes an absorbing and invigorating venture to bravely immerse within before Infantasy steps forward to reveal its own scornful uncompromising incitement. Again it is a track which easily impresses but lacks the richness of invention and adventure of the first two, though in craft, passion, and intensity it is more than an equal.

The title track finds another startling strength of rancor and noxious beauty for its body and sound; guitars and drums seemingly drilled in rabidity whilst the seamless and dramatic switches in urgency and gait bring a predation to the ears which again find new strength and purpose within the album. A great short solo flame from Keating sears the air from within the oppressive and thunderous weight of the encounter but it is the sheer brutal mass and intimidation of the song musically and vocally which seduces without restraint, though again it fails as all tracks after the first pair of songs to be honest, to find that early plateau set.

Both The End of a Pessimistic Voyage and the closing Orbiting Obscuron provoke and feed imagination and passions healthily, the first a thick cloud of insatiably addictive riffs and animated grooves gripped by another rhythmic ferocity to be keenly admired and its successor a provocation which emerges from a doom bred swamp of intensity and emotion into a more thrash steeped sinew clad canter which is as bestial and baneful as anything on the album. The pair easily enflame an already rampant hunger for the album as they bring Endless Asphyxiating Gloom to an imposing exhilarating end. The album is top heavy in many ways but that is down to the sheer might of the first few songs than any defect in the rest whilst the production at times is not as rewarding to the invention it wraps as maybe it could have been, but from start to finish the album is a captivating and commanding enjoyment marking out Sabbatory as a band more than able to make a big impact on world metal.

Endless Asphyxiating Gloom is available via Unspeakable Axe Records now with distribution through Dark Descent Records!

www.facebook.com/pages/Sabbatory/302276589803917

8.5/10

RingMaster 27/05/2014

Copyright RingMaster: MyFreeCopyright

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Violation Wound – Self-Titled

violation wound pic

The fact that Violation Wound is the brainchild of Chris Reifert, a musician who has been a major genre shaping instigator through Death, Abscess, and Autopsy alone, is enough to make his new proposition a must investigation. The fact that it and its self-titled debut album is a rigorously exciting and enjoyable fury is an extra unbridled bonus.

Violation Wound is Reifert creating a dirty uncompromising brawl of punk rock and metal with hardcore ferocity, a sound and release which finds its seeds in old school punk/HC whilst forging its own distinctive voice. It is not a sound which rips up templates but certainly one which makes Violation Wound a fresh and viciously attention grabbing prospect. Reifert formed the band in 2013, the response to an ‘itch’ to play traditional pissed off punk rock. Moving from his usual position behind the drums to guitar and vocals, he enlisted friend and ex- Fog of War bassist Joe Orterry and current Fog of War drummer Matt O’Connell into the idea and band. The trio set to work creating and uncaging their punk ferocity which is perfectly caged within the album. Also featuring guest appearances from Autopsy guitarists Danny Coralles and Eric Cutler, the release like its sound is as raw and honest as it comes. The production is minimal in many ways and also as raw as it comes, allowing the heart, passion, and hostility to songs to breathe without restraint. The album plays like a collection of tracks brought together from different times or recordings, acting with an almost ‘fly on the wall’ like presence over a torrent of live performances. You feel and smell the sweat and aggression in the songs; immerse in their primal essence and emotion as they roar at the world. It is not a release for those without an appetite for the origins of punk in its most vicious guises, but for those where fire in the belly burns with vicious causticity, it is a must.

The album starts with a ferocious bang, opener Don’t Believe It a fire of abrasive riffs and crunchy rhythms over which Reifert snarls and violation wound coverart growls out the lyrics. Sex Pistols like hooks also sears the oppressively raw encounter, adding to the instantly contagious lure of the song. It is a tremendous start, especially with a great expulsion of guitar enterprise towards its conclusion, which leaves the next up Eyes Red And White in its wake. To be fair the track flies at the jugular with jaws clenched ready to rip out the throat of the senses for another riveting and blistering thrill but it is unfortunate to be sandwiched between the strong starter and the excellent Seeing Scars. At even at this point assumptions are set for the feel and voice of the album which the third song pleasingly confirms with its caustic graze of sonic hostility, vocal maliciousness, and rhythmic predation.

It all makes for a formidable and compelling entrance by the band swiftly put into context by the brilliant Glue Trap. Again riffs and rhythms are just a crescendo of vitriolic energy and intent to lay down an appetising canvas. A base which is then dealt exhaustive exploits of heavily throated grooves, spiteful hooks, and a flame of harmonica toxicity. It is barely over one minute of classic punk mayhem, a mix of Circle Jerks and The Exploited with just a touch of Stiff Little Fingers and quite outstanding.

Band and album continue to excite and impress in varying degrees, the likes of the Dead Kennedys sounding Everywhere is Nowhere with its irresistible niggling barbed hook and anthemic chorus and the surely Motorhead inspired rock ‘n’ roller Brian In A Sling casting new infestations into thoughts and passions whilst tracks such as the emotionally grizzled metal fuelled In My Veins and The Ramones kissed Disposable Soul without reaching similar heights still inspire and ignite a greedy hunger with their sonic and muscular vehemence. To be honest there is not one track which does not leave an invigorating and lingering mark, the depth of the savage rancor and occasionally the raw production helping choose some tracks over others as favourites, as well as of course the richness of hooks and shapely riffs, but all songs easily spark new strains of greed towards the album.

Bigger highlights of the album come in the eye balling intense Disconnection and the ridiculously catchy Complaint Box, a song which in fifty two seconds simultaneously bewitches and ravages ears through to emotions like a dangerously peeved tornado. Their triumphs though as soon exceeded by the abrasing animus of Off The Rails and the even stronger alienation of Circle of Wounds, a track where discord and anthemic potency align for a mouthwatering slice of brutal invention.

Brought to a potently solid and enthralling close by the lethal punk croon of Learn and Burn and the heavier rock bruising of Nothing To Say, the album is an excellent bridge to old school punk and modern ferocity which sparks an anticipation of much more from the band, hopefully this not a one off project. Flaws on the album, if they can be classed as real issues, is the production which meanders too much across the songs and as evidenced by the last two tracks, at times there is a too close a similarity between some tracks. That though is more than anything just finding something to temper the enthusiastic recommendation we can only make to all wanting honest merciless punk rock.

Violation Wound is available via Vic Records @ http://www.vicrecords.com/ now!

www.facebook.com/Violationwound

9/10

RingMaster 27/05/2014

Copyright RingMaster: MyFreeCopyright

 

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Chaos Order/Werewolf Congress – Order of the Wolf Split 7”

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Bringing two explosive bands and four intensive riots, the Order of the Wolf Split 7” from Blasphemour Records is a rigorously imposing and invigorating slab of hardcore hostility. As drenched in potential as it is in quality, the release brings a pair of sizeable propositions in the shape of Chaos Order and Werewolf Congress into focus. Both seize their chance with relish and passion, the quartet of songs without going anywhere new for the hardcore scene certainly mark the pair of protagonists as two stirring elements within the genre.

Chaos-Order Chaos Order offer the first two slices of inventive anger, the band quartet from Memphis formed in 2011 by bassist Jared Filsinger. Its line-up is completed by vocalist Neal Bledsoe, guitarist Austin Russell, and drummer Sam Davidson, a foursome with a potent sound and unity which fires up attention and appetite with ease. The beginning of 2013 saw the release of their debut album Regulus, a well-received six track encounter which was followed by the just as keenly coveted sophomore full-length Vultures. Sticking to just vinyl and digital releases as with their second album and the split, Chaos Order make a striking start to the new release with Through Humanity’s Venom.

Heavy bruising rhythms and equally imposing bass riffs hit the ears first, swiftly joined by a richly acidic and venomous guitar temptation. There is certain carnivorous intent to the toxicity of Filsinger which instantly grips the imagination and passions, one just as quickly complemented by the continuing to intimidate weight of the drums and the caustic veining of guitar. It is a mesmeric start which explodes into a torrent of vocal spite, raging riffs, and similarly inflamed rhythmic antagonism. The vicious squalls of Bledsoe sears air and ears with a vitriolic passion which is as harsh and combative as the sounds striding voraciously around him, and just as compelling. A swaggering groove enters the mix as the song hits full stride, its gait almost mischievous which inspires the rest of the song to find a contagious bait and urgency to their suasion. It is a song which improves and becomes more virulent over listens from a first engagement which is memorable and impressive. Its partner in crime A Conscious Decision (Ritualistic Rebirth) is equally as threatening and incendiary, and arguably even more infectious with its hooks and sharp grooves. Rhythmically both Davidson and Filsinger impress unreservedly though the song is stolen by the captivating sonic designs conjured by Russell, his scything melodies and corrosive riffs a gripping tempting.

     Hailing from Orange County, California, Werewolf Congress takes influences from the like of Comeback Kid, Shai Halud, Every Time I wcDie, Defeater, and A Day to Remember into their similarly fiery sound. They cast a flavoursome muscular brew which is as caustic as it is melodically incisive, an essence of post hardcore spicing up a ferocious recipe which marked out their demo of last year. Their first rage here comes in the form of Second Chances, vocal intensity sparking the unleashing of punchy rhythms and scathing riffs which carry more than a twang of melody to their incitement. Vocalist Ryan Doria steers the angst gripped ship with style and raw expression whilst the rhythmic challenge of drummer William Galvin and bassist Jason Ruiz force menacing yet captivating vociferous shadows through which the vibrant charge of grazing riffs and citric sonic colour sculpted by Kevin Fifield and Dan Bieranowski flame. It is a dramatic and evocative fury which through a haunting ill-tempered and busy ambience flows into the closing tempest of The Dead Generation. Its furious intent crowds and pressures ears with a hellacious barrage of beats and less intimidating but just as abrasing riffs to leave thoughts and emotions pleasingly enlivened and intruded upon. The group vocals and melodic underbelly of the song is its greatest attribute though, an irrepressible lure to return to the song’s emotive depths and though its predecessor is a much more rounded temptation and makes a richer impact, both songs equally ensure Werewolf Congress is a band worthy of real attention.

     Order Of The Wolf is a great release from two bands casting an impressive introduction to our ears and probably a great many others. Chaos Order is just the better of the two provocations on the release with their unbridled hardcore veracity and ire, but both they and Werewolf Congress thrust themselves onto our map of the genre with immense ease.

Order of the Wolf (Split 7″) is available now @ http://blasphemourrecords.bandcamp.com digitally and on 7” vinyl with 50 yellow, 200 black, and 250 white coloured choices.

http://facebook.com/pages/Chaos-Order/500637426649863

http://facebook.com/werewolfcongress

8/10

RingMaster 27/05/2014

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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