Consisting of ten tracks which brutally roar whilst unleashing relentlessly nagging grooves aligned to insatiable riffing and a rhythmic assault which the word barbarous was drawn up for, Mastering the Art of Killing from Cyprus-based death metallers Vomitile, is a violent fury impossible to get enough of. It is not the most ground-breaking of offerings or an album to leave the extreme metal world awe struck, but for an accomplished and creatively skilled hostility there cannot be many more enjoyable, passions igniting death metal releases this year. Each song manages to feed and surprise expectations without the wish to over furnish their riff and groove driven slices of primal malevolence, and this inventive simplicity alongside the united skills of the band definitely helps go to make the release a must investigation for genre fans.
Formed in the early parts of 2007, Vomitile made their potent mark locally before reaching further afield with the 7-track EP Rotting Life in 2010 and even more so debut album Igniting Chaos three years later. Live too the quartet has earned a potent reputation and gone on to share stages with bands such as Sodom and Obituary, but it is with Mastering the Art of Killing that it is easy to feel and expect the band to break into the widest more attentive spotlights. Mastered by Andy Classen (Asphyx, Destruction, Rotting Christ) at Stage One studios in Germany, the new full-length fury is prime death metal turned over and stoked with creative passion and tenacious intensity for an inescapable and addictively inhospitable triumph.
Launching from a vocal squall, opener Morbid Holocaust instantly consumes ears and senses in a barrage of vicious swings from drummer Hugo Olivos and equally lethal riffs from guitarists Panos Larkou and George Yildizian. Just as swiftly addiction forging grooves spew their toxicity as vocalist Khatch Yildizian unleashes a caustic roar which as the album constantly shows manages to be bestial and uncompromising but with certain clarity for lyrical narratives to be digested and enjoyed. The track continues to savage and rampage with sinews to the fore, the bass of the vocalist just as vocal in its predatory enticement. It is an outstanding entrance and first offering, the track a torrent of contagious enterprise and as it proceeds, imagination igniting sonic endeavour shaped as melodies and solos.
It is also just a taster of things to come as the following pair of Project Mayhem and Forthcoming Apocalyptic War continue the riveting baiting of ears and emotions, both squeezing out further malice and venom from every aspect of their confrontation. The first of the two combines a demeanour which stalks the ear and an all-out slaughter of the senses, alternating both as again rhythms become a relentless provocateur and riffs a feverish single minded yet inventive spite. Add bordering on corrosive grooves and raw vocal squalls and you have a second thrilling assault emulated straight away by the second of the two songs. This is built from a similar template to the last track but adds its own intrigue soaked twists of pace and sonic ideation. It does not quite match up to those before it, such their quality, but the following Born to Kill certainly has no problem setting another pinnacle with its swaggering riffery and scything grooves across at times a just as catchy rhythmic devilry. The song is still a destructive slab of sonic malignancy but it just makes you feel like dancing as it violates the soul.
The intensive grind of Forced Mutilation is the next to excite, its senses gnawing riffery a potent temper to more swaying revelry cast by drums and grooves, their lure masterfully courted by a just as gripping and imposing stroll of bass. With enthralling guitar skill and enterprise another beacon within the excellent tempest, it paves the way for ears and psyche to be ravaged by the thrashy excellence of Nekropound, the track a tsunami of bone splitting rhythms and rabid riffery which is just as at ease and potent when slipping into a predatory crawl over the senses. It is another shuffling up its attacks whilst embracing a melodic beauty which is as feverishly captivating as the grooves squirreling away at ears.
Across the heavy and intensive prowl of Slaughterhead, a song which surprises little but please lots, and the hellacious glory of Stabbed, Shot, and Bludgeoned, Vomitile still have attention and satisfaction firmly gripped, and in the case of the second of the pair with its tightest hold yet. The track is a virulently infectious and erosive piece of work and quite scintillating. You still would not say there is a wealth of originality going on but Vomitile turn the weapons they have and use into a primal and inescapable seduction to which we certainly have no defence.
Bringing the album to a close is firstly the heavy handed and footed brute Immense Catastrophe, a tempestuous joy all on its own and lastly the ferociously destructive and barbarously seductive Commencing Assault, a final invigorating anthem of bad blood and vile temptation. The pair brings the album to a mighty close leaving ears ringing and emotions torn asunder.
Mastering the Art of Killing is an exhaustive treat of a incitement which even though there is a kind of formula attack and structure to many songs, turns it in a minor issue such the contagious enterprise and unbridled intensity fuelling each encounter. Is the album offering much new to get your teeth into…not really but it cannot not stop Mastering the Art of Killing from being one of the best and favourite death metal intrusions in 2014.
Mastering the Art of Killing is available from October 3rd via Pitch Black Records @ http://store.pitchblackrecords.com/VOMITILE-Mastering-the-Art-of-Killing.html#.VC6ozRaDwvQ
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