Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Army of Walking Corpses – K.M.D.

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The claustrophobic worm sodden ground has parted once more to see UK horror punks Army of Walking Corpses emerge with their new ravenous EP. Consisting of six tracks which align themselves to the dead with predatory rabidity, K.M.D. is a captivating and thoroughly enjoyable romp of blood drenched, flesh decaying confrontation. It is a striking proposition which is sure to awaken an appetite in newcomers and greater greed in fans for their potent sound. Arguably band and their songs are still engaged in feeding expectations than creating startling surprises but in providing thrilling and compelling arguments with each song, the Nottingham quartet easily encourages patience to happily wait for their evolution to find that unique presence.

Coming to life in 2009, Army of Walking Corpses has become a strong and greedily consumed proposition around their home county and surrounding areas. Created by guitarist Machine who brought in vocalist Le Mang and drummer Nikolai Von Plaskenheimer before after a search finding the deathly skills of bassist Frankenfiend, the band has made its mark sharing stages with the likes of The Meteors, Massive Head Trauma, Skeleton D, Trioxin Cherry, and Crimson Ghosts, the band taking their name from one of the German band’s songs. Their first three track demo caught some attention whilst their first official release, the Deadmen Walking EP pushed the band into a stronger spotlight. 2012 saw the band share a four track split 7” EP called Bloodgods with Crimson Ghosts, a well-received encounter which now is set to be lost in the acclaim for K.M.D. and its furious venom.

Mixed by Andreas Frank of Casket Garden Studios and clad in the artwork of Darkwave Art founder and artist Matthew Vickerstaff, K.M.D. instantly flirts with the imagination as marching feet draw in Invasion of Mutant Slugs. The track explodes from a sonic mist with nostrils flaring and rhythms rampaging feverishly as riffs scrape away the surface of the senses with their sonic rapacity. Vocalist Le Mang adds his grizzled tones, strong intimidation ripe in his pleasing growl yet aligned to a melodic vein, much like the music, which entices from within the tempestuous delivery. There is a feel of Necromantix meets Resurex to the opener which only adds to its carnivorous persuasion and formidable sound, every essence merging for a powerful and gripping start to the release.

The song flows easily into the following Xenocorpse Brainstew which from a haunting melodic coaxing unleashes metallic sinews and a predacious stalking as it consume and intimidate ears. It is a dramatic and intensive start which loses its edge once the song settles into another adrenaline fuelled but predictable charge, its early atmosphere lost in a fury of accomplished but less gripping animosity. Nevertheless the song holds an anthemic lure and contagious strength which easily holds attention and appetite before the excellent Never Alone regains rigorous control with its Misfits like croon of vocals and expansive sonic colour. Le Mang shows he is potent whether crawling venomously over ears or in seducing them with a clean call whilst musically the song rages with coarse and virulent suasion if maybe without exploding into the fury hoped and expected. The heavy metal veining surging throughout the track adds another rich hue to the savagery, providing more evidence of the diverse promise within the band and sound.

One Eye Blind seeps from its predecessor next, enveloping and writing across the senses with a rhythmic barbarity and scourge like riffery. It is another raw and healthily abrasing storm with the continuing to impress vocals backed powerfully by the group calls, stealing the show. Once again Misfits is an easy comparison but there is plenty more to devour and be intrigued by, especially its gothic drama and ambience as it seamlessly evolves into Lost (in the Shadows). The track is a glorious rain of crippling rhythms and scarring riffs which for the first time seems akin to the intro compared to previous songs and their leads. As with its predecessors, the onslaught is unrelenting in its energy and charging gait, drawing on inspirations mentioned already but flourishing within those seeds to sculpt its own infection clad enticement of rabid intent and barbarous tenacity to light the passions even further.

The best track on the release makes way for the closing Man or Beast, an enthralling and just as impressing journey through the cavernous depths of primal darkness. Leaning even deeper into the band’s metal spawned enterprise aligned to their corrosive horror punk endeavour, the track continually twists and shifts across its excellent hostile landscape. At times it lurches into the most vehement scythes of extreme metal and serpentine vocal malevolence whilst in others simply gnaws incessantly on ears with psychobilly bred voracity.

It is an impressive end to a great encounter, one you can only imagine pushing Army of Walking Corpses across the radar of a great many more horror punk and rock ‘n’ roll fans. True it is lacking real originality but as said earlier if the band continues to satisfy and excite with songs like this we can happily wait a little longer for something more distinct.

K.M.D. is available now @ http://www.aowcstore.com/product/k-m-d-e-p

https://www.facebook.com/armyofwalkingcorpses

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Latimer House – Birdcage Walk

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The make-up of Latimer House is a diverse mix which makes their new single and its sound a bit of a surprise as our introduction to the band. Made up of guitarist Joe Cook from London and drummer/ percussionist Jiří Kominek from Toronto, who set the seeds for the band in 2010 when linking up and playing together, alongside bassist Michael Jetton from Virginia and Baku hailing keyboardist Anar Yusufov, the Prague based band have a sound as English as it comes. New single Birdcage Walk has an eccentric and quaint air which plays like a mix of Ian Dury meets Cockney Rebel with a rich spice of The Kinks and Tankus The Henge in its creative toxin. From the varied globe covering line-up it is an unexpected proposition but one which engages with an irrepressible charm.

Birdcage Walk is an edited version of a track from the recently released Latimer House album All The Rage. Following and along with first single This Is Pop, the new release makes a potent and intriguing temptation for their debut album, one easy to expect a whole new wave of appetite for the band’s sound to be woken up by. Consisting of a collection of tracks recorded in 2012 with engineer Derek Saxenmeyer, the February unveiled All The Rage brought an eager spotlight upon the band with others, one set to one increased by the new pop folk tempting of Birdcage Walk.

Guitars and rhythms immediately enchant ears as the song opens up its melodic caress. It is right away a gentle and endearing stroll which sways with enterprise and quaintly jangling suasion. The vocals of Cook go much towards bringing that British feel but musically there are elements of XTC with whispers of The Divine Comedy to the song which only add to the distinct caress. Cook’s voice has a dulled yet vibrant monotony which increases the charm offensive of the song whilst matching the earthier lyrical narrative, writing which itself brings a Squeeze like essence to the whole persuasion. With keys colouring the more singular stroll of the track and its shuffling dance, Birdcage Walk makes for a captivating encounter. It does not ignite a fire in the belly it is fair to say but as a summer breeze certainly hits the sweet spot.

The song is accompanied by Until Then, an openly rawer and dirtier stomp with blazes of horns and melodic tantalising which themselves have a rough edge and fiery touch. Within that appealing almost teasing scenery a jazzy air and indie rock intrigue plays with thoughts whilst the guitars cast a sonic flaming which brings its own distinctive hue to the spicily varied landscape. Longer to convince but eventually just as persuasive and enjoyable as its companion, it along with Birdcage Walk just infests the imagination and makes an exploration of All The Rage a must and attention on Latimer House ahead inevitable.

Birdcage Walk is out on Honk Records now digitally, CD, and on ltd Ed vinyl @ http://latimerhouse.bandcamp.com/track/birdcage-walk

http://latimerhouse.com/

8/10

RingMaster 07/07/2014

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Sassy Kraimspri – Cock Fight 2

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For dirty and sexy rock ‘n’ roll with little care for anything more flamboyant than virulent flirtation, Cock Fight 2 the new EP from Sassy Kraimspri, is a rigorous mischievous pleasure. Consisting of three tracks brewing up brawling storms of voracious rock with the antagonism of punk and salaciousness of grunge kissed garage rock, the release is a dirty contagious stomp reaffirming the impressive emergence of the Norwegian based band.

With the merged nationalities and skills of members from Norway, Australia, and the US, Sassy Kraimspri has been on a constant and attention grabbing rise since forming in 2006. They have played across the globe, impressing audiences from America, Canada, and Australia to China, Norway, and the UK to name some of the places hit, and earlier this year released the first in a trilogy of Cock Fight EPs. Cock Fight 1 roused ears and appetite for the band but now the second in the series thrusts the hunger bred for their presence into a new greed. It provides a blaze of hard hitting devilry which simply ignites the imagination and passions, making little more demand than you enjoy its adrenaline and invention brand of bruising revelry.

Recorded as its predecessor with Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir), Cock Fight 2 immediately lays down irrepressible and irresistible bait with the opening bestial bassline of Like a Drug provided by Cock Fight 2Lovely Linda Lustsalot. It is a primal lure soon joined by similarly addictive riffs and hooks from the guitars of Dick Deviant and Sassy Kraimspri, whose vocals blaze upon the ear the moment they touch. Driven by the resourceful and inciting rhythms of Etienne the Frenchman, the track swaggers with a defiant and saucy gait which itself enslaves attention. There is an instant indefinable familiarity to the song too, creating an old friend in new explosive clothes stance to make a recognisable yet fresh impact accentuated by the ridiculously anthemic chorus with its swinging hips and seductive lures. As the accompanying press release suggests there is a definite PJ Harvey edge to the vocals of Sassy whilst musically elements of L7 and Valentiine revel in the dusty hard rock and infectious punk exploits combined. The song is a riveting and extraordinarily thrilling encounter which puts the pressure of the other two tracks alongside it.

To be honest neither can match up to the first but each offers their own exciting and sweltering slabs of rock vivacity. Riot comes next taking a more deliberately even paced entrance punctuated by stabs of riffs and thumping rhythms stalked by again a deliciously sinister bass sound. The song prowls around ears as its settles into its intensive charm, melodies pouting and heavily stomping rhythms uniting for an incendiary persuasion led by the impressive fire of vocals. Bursting with rapacious expulsions of energy and coarse guitar adrenaline, the encounter ebbs and flows with a volcanic climate and ferocious enterprise, never leaving senses and appetite devoid of a tasty endeavour.

The closing Say What comes closest to matching the opening triumph with its outstanding adventure. Its first second brings a winding spiral of grooves and temptress bred vocals, each seducing with magnetic wantonness. The song continues to swerve with stirring melodic enticement and mesmeric vocal tempting, predatory riffs and rhythms urging full submission to which harmonies and those inescapable melodies bring mouth-watering rewards. It is a sultry and memory haunting end to a completely thrilling encounter.

As shown powerfully by Cock Fight 2, Sassy Kraimspri knows how to create and uncage rock ‘n’ roll to steal the heart and invigorate the soul, roll on EP 3 we say.

Cock Fight 2 is available via Lady Luck Records now.

http://www.sassykraimspri.com

9/10

RingMaster 0707/2014

Copyright RingMaster: MyFreeCopyright

 

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The Dead XIII – Creatures Of The Night

The Dead XIII Online Promo Shot

It might not be the most startling introduction this year but there is something compelling and thoroughly enjoyable about Creatures Of The Night, the debut EP from The Dead XIII. Fusing horror punk with captivating traits of carnivorous metal and gothic predation, the band makes a strong and promising entrance. They certainly wear their influences on their sleeves but offer plenty to spark and invite the imagination and appetite to embrace future dark bred propositions.

Hailing from Manchester, The Dead XIII rose in 2013 and swiftly bred and earned a potent reputation for their live performances and raw dark hearted sound. Their influences are plain to see and hear, the likes of Misfits and Murderdolls as well as Defiled adding strong colour to their riveting sound so that as mentioned it is not the most original mix, certainly yet, but it also shows a rich potential and invention which should grow and evolve into something rigorously unique with time. The quintet’s stature has strengthened through sharing stages with the likes of The Fearless Vampire Killers, Ashes To Angels, and Bad Pollyanna since forming and now with the unleashing of Creatures Of The Night it is easy to see the band finding a stronger foothold in the UK metal scene.

From a sinister atmospheric mist opening track Stake My Date makes the first insurgence into ears and thoughts, guitars the initial graze of coaxing. Pushed by the firm beats of drummer Spike Owen and the dark bass tones of Paul The Dead XIII Cover ArtworkRyan, the song is soon striding purposefully with eager and caustic intent as vocalist Kurt Blackshard adds his excellent cold vampiric yet alluring delivery to the mix. His voice has a monotone quality which entices perfectly, especially when surrounded by the fiery guitar scrubs and riffs of Symon Lee and Ste Mahoney, the latter offering a sizzling solo as the track prowls and crawls all over the imagination. It is excellent thrilling bait to set things off, a success not quite matched by its successor it has to be said.

Stage Fright wraps ears in a gothic shadow of melancholic menace and drama initially before from its depths a gallop of hungry riffs and demanding rhythms emerge. Sonic hues spew from the determined stride of the track whilst keys offer a melodic haze of danger to breed an intriguing evocation within the raw canter of the song. To be fair the track is a heavily enticing beast but against its predecessor lacks the same spark, its invention and guitar designs less gripping and potent. Nevertheless the track with its mix of Wednesday 13 and Type O Negative holds attention and hungry appetite firmly in its grasp.

The following Monster Rehab marches in on a blaze of caustic riffs with addictive hooks and commanding rhythms. It again makes for an enthralling temptation but losses some of its potency once settling into a more predacious crawling around the senses. With its once more impressively delivered narrative presented by the almost mesmeric tones of Blackshard, the track is a sizeable offering but as the previous track its depth and its sonic invention comes without the strength and bite which fuelled the first song, though the chorus admittedly is an addictive roar providing an easily pleasing incitement.

The closing Army Of The Dead brings the release back to its opening heights, crawling all over the senses from its first touch and seducing venomously with an enthralling groove and rhythmic hypnotism. Hooks and melodies persist in their infectiousness across the song whilst the vocals again chain attention within the malevolent f bass and drum sculpted caging and its sonic colouring. The best track on the EP, the song brings Creatures Of The Night to an impressive and exciting conclusion, leaving plenty of satisfaction and rich promise stalking thoughts and emotions in its wake.

The Dead XIII has a way to go to find their own distinct presence and sound but with a first step as magnetic and captivating as this their horizons look potent and potentially dynamic. Find their distinct identity and we could be looking at a real pestilential scourge to ignite the British metal/horror punk scene.

The Creatures Of The Night EP is available now @ http://the-dead-xiii.bandcamp.com/album/creatures-of-the-night

http://www.thedeadxiii.com/

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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