Cannibal Corpse – A Skeletal Domain

byAlexMorgan_01

Cannibal Corpse and their sound need no introduction to metal fans and in many ways nor does the band’s new slice of savagery, A Skeletal Domain. The thirteen studio album from the US death metallers feeds all the wants and expectations of the genre and fans yet also manages within its contagious surface turbulence, to explore new twists of endeavour and vehemence soaked adventure in the depths of songs. The distinctive fury is a fresh if not startling evolution in the onslaught we have all come to know and assume from the band; one providing the rich flavours the quintet is renowned for whilst providing a breath-taking rampage through the senses to again seriously ignite the passions.

A Skeletal Domain also sees the band move from the production of Erik Rutan who added certain richness to previous releases Kill, Evisceration Plague, and Torture. For the new album, Cannibal Corpse has recruited the talents of Mark Lewis at Audio Hammer Studios who has produced the recent albums of The Black Dahlia Murder and DevilDriver amongst many. His touch allows clarity to the emerging twists of ideation and sound within the violations posing as songs. The elements are arguably still not as vocal and instantly striking as maybe they could be but they are allowed a platform to increasingly tantalise from by a production which seems clearer and more conducive to the enterprise than on earlier encounters.

Lyrically there are no surprises; blood, gore, and violence providing aural ‘horror movies’ within the sonic and rhythmic severity as immediately shown by opener High Velocity Impact Spatter. From an intimidating waspish sonic mesh of sound, the track pounds ears with some of the heaviest swung beats heard this year, every swipe thunderous within the brewing assault of corrosive riffery and psychotic sonic endeavour. There is no escaping that recognisable Cannibal Corpse toxicity or the addictive web spun by the guitars of Rob Barrett and Pat O’Brien. It is an intensive and contagious furnace exploding within the ears, driven venomously by the thick caustic growls of George “Corpsegrinder” Fisher and the increasingly intrusive beats of Paul Mazurkiewicz. There is always a ready and waiting hunger for the band’s sound and its appetite is potently fed by the song with extra flavouring from the swirling invention cast by the guitarists.

Both Sadistic Embodiment and Kill or Become seduce and ravage the air as well as senses with skilled animosity, the first a barbarous torrent of rabid riffery and bone splintering rhythms bound in a merciless predation. The bass of A Skeletal DomainAlex Webster growls spitefully from within the severe enticement, another aspect of the band given closer attention on the album compared to some earlier incitements. Its successor finds an even more bestial air to its prowling heavyweight presence, its muscles flexed through every hellacious swing from Mazurkiewicz and the venom unleashed through a horde of rapacious riffs and the increasingly contagious vocal suasion of Fisher. The track is a maelstrom of malicious enterprise, one threatening to become unravelled at times, especially around a senses searing solo, but always checks itself to parade a pestilential and irresistible scourge.

The title track tears through ears and imagination next, its intensive stomp flaring with malice and rhythmic sadism whilst vocally it sprays inhospitable emotion like a sand storm. A welcome variation in gait and intensity offers an intriguing turn whilst another potent solo flames excitingly across the track adding to the weighty fascination of the proposition. At first glance the following Headlong into Carnage is a close relation to its predecessor but eventually emerges with a distinctive tone and ruinous attitude which is as compelling as it is enjoyably oppressive.

The deranged and blackened suasion of The Murderer’s Pact is next, guitars crafting an addictive and destructive sonic trap to which vocals and rhythms make available their rewarding yet ruinous hues. It is an absorbing challenge, the band delving into tortured shadows with open relish and magnetic invention. The sonic ingenuity of the solo within its haunted climate is exceptional, not outstaying its potency but adding enough colour and radiance to light the cavernous malevolence of the song. Its triumph is matched by the pernicious lumbering atmosphere of Funeral Cremation, its increasingly expanding and toxic voice breeding an uncomfortable and invigorating onslaught of coarse sonic rabidity and rhythmic voracity. It is the winding groove of the song though which lights the passions most of all, its crawling temptation irresistible within the tempestuous climate around it.

The viciously chilling and tenaciously compelling Icepick Lobotomy and the enthrallingly inventive Vector of Cruelty ensure senses and emotions are ablaze with pleasure and breath-less satisfaction but it is after their outstanding efforts that the album hits its pinnacle, the final trio of tracks leaving the strongest lingering impression. Bloodstained Cement steps forward first and from its drama fuelled start unleashes an insatiable rampage of hypnotic rhythmic turmoil and contagion drenched riffery. There is a flowing addictiveness to the track which soaks every aspect of its unrelenting swarm of sound and ideation. The track is an exhaustive treat but soon surpassed by the brilliant Asphyxiate to Resuscitate. As expected there is no peace from its poisonous intent and rabid jaws, guttural growls and drums a finely honed and barbaric blitz on ears whilst guitars and bass combine to sculpt an impossibly infectious malignant gale.

The album closes with the hellacious creative fury of Hollowed Bodies, a last explosion of bad blood and ear seducing grooves within a back breaking intensity. It is a scintillating end to a mouth-watering release, seeing Cannibal Corpse at their best with very loud whispers of new exploits to tantalise within a recognisable presence and sound which fans will willingly embrace. The band’s best album can and will be debated but one of their most pleasing and enjoyable A Skeletal Domain definitely is.

A Skeletal Domain is available now via Metal Blade Records @ http://www.indiemerch.com/metalbladerecords/item/27304

http://www.cannibalcorpse.net/

RingMaster 17/09/2014

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Antropomorphia – Rites ov Perversion

AntropomorphiA - 2014PR#2

The return in 2009 of Dutch death metallers Antropomorphia brought with it a potent impact on the extreme metal scene especially through the band’s acclaimed 2012 second album Evangelivm Nekromantia. Now the Tilburg quartet unleash its successor Rites ov Perversion, another accomplished and compelling savaging to put a spark into the heart of death metal. It is not an encounter to reshape or offer new realms for the genre but over time certainly one to thrill and add another tasty flavour to its impressive year.

Formed in 1990, Antropomorphia embraced inspirations from the likes of Celtic Frost, Possessed, Death, Autopsy, and Venom as they honed their own uncompromising and honest sound. The demo Bowel Mutilation in 1992 gripped attention, subsequently becoming a long sought after encounter among underground metal fans. Its release led to the band signing with Swiss label Blackened Recordings and the unleashing of Necromantic Love Songs a year later. Its well-received release was followed by band member’s time being taken up by their other projects and Antropomorphia being put on indefinite hiatus from 1999. They did not restrain from writing songs though and in 2009 the band sprung back to life, going on to sign with Metal Blade Records and unleashing Evangelivm Nekromantia. Reawakening interest and drawing new attention to the band, as well as almost getting banned by German authorities because of its violent and occult themed topics, the album led to festival appearances for the band at Neurotic Deathfest and Extremefest. Now Rites ov Perversion is poised to stir things up with its vicious and raw intent, as well as easy to suspect a greater hunger for the band’s imposing presence.

There is no escaping the force and ferocity of the album as opener Temphioth Workings draws up to ears on a crest of rampage riffs and thumping rhythms, all orchestrated by the vocal roar and vehemence of Ferry Damen. Expelling Antropomorphia - Rites ov Perversioneven greater malevolence through the dark tones of Marc van Stiphout’s bass and the increasingly vindictive swipes of Marco Stubbe, the track proceeds to ravish and seduce the senses and imagination respectively. Grooves nag and thrill throughout as the sonic invention of Jos van den Brand and Damen persistently entangle thoughts and song. It is a great start with nastiness to its breath which is just as rich in the following Carved to Pieces, an openly contagious and irritable proposition. Grooves again steal attention and passions, veining the inhospitable climate and intensity of the thrilling offering for an irresistible persuasion.

The pestilential predation of Inanimatus Absqui Anima comes next; its body a crawling ruinous enticement which stalks ears and emotions yet expels a swing to its beats and grooves which belies the toxic animosity drenching its appealing heart. Its success is matched by Crowned in Smoldering Ash, another rapacious proposal from the band taking its time to size up its victim before spilling demonic and sonic toxicity through its hostile design. Neither track matches the heights of the first pair of songs yet bind ears and thoughts in a healthy dose of creative malevolence to keep appetite for the album greedy.

     Nekrovaginal Secretions is a romantic little number if being smothered in venomous riffs and salacious sonic causticity lights your fire. Grooves twist emotions around their acidic flame with ease, again seducing without reserve as a punishing and creative tsunami of rhythms from Stubbe shows little restraint to their precisely skilled animosity. It is a glorious violation of the senses swiftly matched by the ravenous presence of Gospel ov Perversion. The track is a maelstrom of enterprise and raw hostility, merging a twisted melodic radiance with blistering sonic endeavour and rancor.

Through the hellacious and addictive bad blood of Morbid Rites and the intriguing and riveting Tevfelskvnst, band and album reinforce their already virulent animus with compelling force and charm. One thing about the album is the familiarity between groove structures and at times sound, yet they are woven into the individual characters of songs with an imaginative touch which defuses any over familiarity as strongly shown by the second of the two. The track rumbles and snarls from start to finish, the bass of van Stiphout especially inescapable bait within a torrential and impressively evolving landscape.

Completed by a powerfully enticing cover of the Death track Open Casket, the album is a formidable and thoroughly exciting proposition. Certainly it is not venturing into realms unknown but for primal yet organically inventive death metal there have been few releases better this year.

Rites ov Perversion is available now via Metal Blade Records @ http://www.emp.de/antropomorphia-rites-ov-perversion-cd/art_288907/

http://antropomorphia-official.com/

Ringmaster 17/09/2014

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Krullur – Grounds For Termination

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Hailing from Houston, extreme metallers Krullur have recently linked up with Horror Pain Gore Death Productions and their first fury from the union comes in the blistering shape of the Grounds For Termination EP. Six tracks brewing up a raw and corrosive storm from a healthy collusion of death and thrash metal, the release is a tenaciously satisfying savagery. Not an encounter to roar outside of established templates it is fair to say but one feeding heavily all the wants of a slab of extreme provocation.

Formed in 1989, the band is no newcomer to unleashing ravenous hostility. From early demo Enormity in 1990, the trio has drawn attention through the Godvomit Compilation, a split release with Tumorhead in 1996, and debut album Open Ass Surgery in 2001, amongst a handful of releases. As evidenced by the new encounter, the band uncages as proposition which blends the darkest contagious and hostile elements of thrash and death metal with a further blackened intent and punk predation. Grounds For Termination is their new assault, and though the threesome of band founders Jay Langston (drums) and Marty Langston (guitar) alongside Diego Garza (vocals/bass) who joined the band in 2009,has not uncaged a game changer, it is a release to turn new heads their way and offer a thoroughly enjoyable violation.

Krullur take a chunk out of ears straight away as first track Bringer of Destruction flails with viciously swinging rhythms and similarly driven riffs to set off the onslaught. It is just a grabbing of attention though as once in control the song uncages an infectious stroll of bass hooks and scything beats aligned to caustic scythes of guitar. It is potent thrash bred bait which strides antagonistically over the senses and into the imagination, the punkish vocal growl of Garza adding to the raucous brawl of sound and energy. An abrasive and raw confrontation, the song makes for a captivating start with its Toxic Holocaust meets Sarcofago like ferocity and intensity.

Necromancer of Death follows, building on the appealing entrance of the EP with its classic heavy metal furnace of aggression and enterprise. The guitar spins a web of sonic intrigue and melodic craft which manages to be pleasingly vocal and open within the otherwise oppressive and ferocious weight of the track. To this drums and bass sculpt a demanding yet catchy suffocation, increasing the violent lure and grip of the song. Its success is surpassed by the outstanding Designed for Failure. From its first second, the thrash fuelled tempest strides over and tramples the senses, its gait launching from a predatory stalking to an unbridled assault before combining both for the remainder of its impressive fury. Vocals and guitar steal attention with their punk and melodic enticement respectively, but overall the track is a punchy rage which leaves satisfaction full.

Both Pay by Pain and No Holds Barred provide a distinct and unrelenting savagery, the first a carnivorous monsoon of energy and malevolence but a tempest veined by riveting guitar invention whilst its successor ventures into a more punk rock seeded inhospitality. The song is an exciting blaze of sonic endeavour and rhythmic sadism but again a track which manages to be addictively catchy, its thrash swing an invigorating temptation in the merciless and corrosive rampage.

The EP comes to an end with Infestation, a slower spiteful proposition compared to earlier tracks which preys on the senses and gnaws on the emotions with its vehement coated frenzy of rhythmic incitement and sonic causticity. It makes a fine end to a strongly pleasing release, and though Krullur is not opening up new avenues with Grounds For Termination, the band is definitely putting itself in a bigger window with its enjoyable attack on the senses.

Grounds For Termination is available now via Horror Pain Gore Death Productions @ https://hpgd.bandcamp.com/album/grounds-for-termination

https://www.facebook.com/pages/Krullur/154413801249768

RingMaster 17/09/2014

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The Body Politic – Egressor

TBP-July-2014-Promos-3344

As sonically savage as it is melodically radiant, Egressor provides one sizeable tempest of aggression, passion, and technical invention which thrusts Canadian progressive metallers The Body Politic into a whole new spotlight. The EP is a furious yet seductive storm which is as accomplished and gripping in its senses ravaging enterprise as it is in its rich croon of melodic and harmonic endeavour. The six track encounter provides a blistering fascination and unpredictable adventure which took a short while to reveal all its glories but emerged as another of the rigorously compelling events of the year.

Coming out of Vancouver Island and taking their name from the Clive Barker short story, The Body Politic made an attention grabbing mark with their well-received debut album All Too Human in 2011. Their sound entangles the nuances and freedom of jazz, which most members of the band studied at Vancouver Island University, with the colourful exploration of progressive metal and the predatory voracity of metalcore. It is a striking blend, skilfully twisted into an imagination binding storm as evidenced by Egressor. Following a period which has seen the band undertake several Canadian tours and share stages with the likes of Tesseract, Protest The Hero, and Scale The Summit, the new EP suggests it holds the spark to wider recognition as it sets the band out from the crowd.

The release impresses in many aspects, the technical craft, explosive adventure to the songwriting, and the striking vocals of Sam Britton the most striking of these. Produced by Spencer Bowman, the release opens with Vitam Agere. It EP Cover - Body Politic - Egressor - 2014is a haunting instrumental piece, emotion spilling keys stroking ears as a sonic wind grazes the senses. The restrained entrance soon brews up a forcible and portentous coaxing as guitars and rhythms sculpt a climactic air which is still soaked in that initial haunted, almost apocalyptic texture. The track flows straight into Armature, the track an immediate onslaught of eventful and demanding rhythms aligned to scorching grooves and ragged riffs. Driven by the coarse scowls of bassist Jesse Janzen, his tones as aggressive as the metalcore spine of the track, the song swiftly reveals potent scenery of raw persuasion from the riffs of Matt Aasen and Dan Montgomery alongside the thumping beats of Spencer Bowman. This onslaught is tempered by the technical flair and imagination the guitarists also unleash and the exceptional clean vocals of Britton, his entrance the final piece in the jigsaw bringing the track alive. As soon realised every moment is just an instance in the journey of a song, the starter proceeding to steer ears and emotions through avenues of raucous passion and ingenious technical enterprise, all soaked in the emotive keys of Rob Wilkinson.

It is an imposing and impressing start but merely a taster of greater things to come, instantly shown by the following All Hands. Electro radiance sets the track off before a torrent of contagious jagged riffs and the brawling tones of Janzen erupt, their confrontation swiftly tempered and complimented by the smooth flow of Britton’s delivery. The song then twists into an enthralling schizophrenic dance of psychotic rhythms and similarly bred sonic imagination, both aspects flirting with and chewing on thoughts and senses respectively. It is a glorious turn in the song before it slips back into its melodic fire bound in hostile intent. The track is sensational, a constant flood of creative intrigue and bold invention unafraid to wrong-foot and confront the listener.

Swing For The Fences has the task of following the EP’s first highlight and does so with antagonistic gusto. Grooves and riffs climb over the psyche from the off before relaxing into a melodic embrace led by Britton’s refreshing tones. Keys and melodies wrap emotive arms around ears before the track combines its dark and light side for another absorbing flight of riveting imagination and honest passion. Both sides of the vocals impress but it is the guitars which push passions from ardour into a lust for the song, their almost cryptic invention as bewildering as it is bewitching and never allow senses and thoughts to settle and get a firm hold of the swirl of sonic acidity and bedlamic enterprise at the heart of the track.

In song and EP though, every part of the band combines to create spellbinding torrents of adventure and intent, keys and bass as vocal in their own way as the rhythmic and sonic character of tracks. Colqhoun instantly proves the point, the throaty lure of Janzen’s bass and the seducing presence of Wilkinson’s keys potent and expressive textures in the song’s exploration. Though not as dramatically gripping as its two predecessors, it casts a seriously rewarding and imagination provoking canvas coloured by raw metal and jazz rock hues, before making way for the closing Irradiate. The final track takes its initial crystalline melodies into a turbulent yet infectiously captivating furnace of adversarial angst and provocation, shadows and light hurling themselves around each other through the stunning skill and imagination of the band.

The track is a thrilling end to an outstanding release, one with the flesh and soul to push The Body Politic to the forefront of progressive metal.

The Egressor EP is available now digitally as a name your price download and on CD @ http://thebodypolitic.bandcamp.com/

http://www.thebodypolitic.ca/

RingMaster 17/09/2014

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

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