Arbitrator – Indoctrination of Sacrilege

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If you speak to the right people there are always good, often great things said about any new and emerging band. The confirmation is always only in the music of course and just as often as words are proven, anticipation is left in unintended deceit. Arbitrator since the release of The Consummate Ascendancy EP in 2011 has been a band often talked up and recommended from certainly Canadian and North American sources. Their debut album Indoctrination of Sacrilege is our introduction to the quartet and all promise and suggestions of their growing might have been convincingly proven.

Indoctrination of Sacrilege is a beast of a release, an intensively atmospherically soaked death metal bred proposition which from making an impressive first impression grows into one striking and fascinating theatre of imagination. Fusing in textures and essences from electro and industrial climates to progressive and ambient flavouring, the six track release engulfs and stirs ears and thoughts with skilled and increasingly rewarding adventure. The band itself is the brainchild of Robert Kuklaand, its emergence starting in 2010 and announced by the release of The Consummate Ascendancy the following year. It was an acclaimed proposal from the band but just a tester in many ways for the exploratory might of Indoctrination of Sacrilege. With a line-up of Myles Malloy (lead guitar), Connor ORT Linning (programming), and Soilwork drummer Dirk Verbeuren (ex-Devin Townsend Project, ex-Aborted) alongside Kuklaand (rhythm guitar, bass, vocals), Arbitrator put themselves forward now as one of the more intriguing and exciting progressive death metal prospects. They also still feel like they are still only just scratching the first few layers of their potential despite the weight and success of their album, a potential and prospect of even greater things ahead quite exciting.

The Sacha Laskow (ex-Divinity, Every Hour Kills) produced and Jens Bogren (Opeth, Katatonia, Amon Amarth, Arch Enemy) mastered album, swiftly has the imagination engaged as the entrance of opener They Will Worship This Fire of Agony comes through scenery of portentous bells and death feasting flies as church seeded chants seemingly offering final guidance as a dark pestilential cloud looms nearer and nearer. That sonic threat is realised a muscular wall of riffs and punchy rhythms veined by enchanting keys. It is an immediately incendiary and compelling persuasion enhanced by the guttural growls of Kuklaand and spicy persistent grooves. Samples are soon briefly mingling with the cavernous presence and intimidation of the song too but it is the infectious hooks and melodic winery which most captivates against the evolving and enlarging drama of the keys. It is an imposing and enthralling encounter, and as the album subsequently shows itself to be, a pleasingly unpredictable one.

The potent start to the album is solidly continued by Stillborn Bastard of The Nazarene, it straight away binding the appetite with intensive riffs and rhythmic swings whilst thoughts are provoked by its atmospheric colouring. Kuklaand again impresses as he binds words and syllables with a gripping impassioned tenacity which provides additional potent focal points amidst many on release and track. Samples and keys again paint additional inciting scenes in the ferocious and threatening landscape of the song, though it is the superb melodic enterprise of Malloy which steals more of the glory.

Through each song the album just gets better and creatively bigger, the next up For That Which May Appease Lions unleashing black hearted rock ‘n’ roll in a hellacious offering of grooved and addictive contagion aligned to corrosive and oppressive malevolence. The track transfixes from its first moments, the predatory nature and sound of the bass a delicious stalking within the maelstrom of rancor whilst clean vocals add a different shade of temptation to the voracious soundscape. Keys and guitar endeavour similarly vein the tempest with their own unique and engrossing narratives, everything seamlessly flowing and combining together to enslave ears and imagination. Unpredictability is rife across the track, and reveals more twists and subtle ideation with every listen, an exciting trait just as potent in Serpent of The Styx. The song’s electronic opening is a melodic drift of keys and radiant melodies yet it all comes with a solemn and melancholic charm courted by a slowly brewing dark side. An eruption of that heavy menace is eventually unleashed yet the song still continues to radiate melodic expression within a web of carnivorous grooves and enjoyably volatile rhythms. There is also a cinematic ambience to the track, its ‘warmer’ and calmer moments apocalyptic in suggestion as the track’s muscular and rabid side trespasses and challenges the senses. As its predecessor, the track is a mouth-watering incitement which just gets more addictive and anthemic with every passing minute, hook, and barbarous swing from Verbeuren.

       Profaned and Perfected whilst not quite matching the heights of the previous two tracks, has its own persuasive agenda of spiny grooves and spiky beats to contemplate, and an anthemic swing to drool profusely over. It is an out and out death metal ravishment but also one unafraid to explore warmer climes through the often spellbinding invention of the industrial spiced keys and climactic guitar. The song is still a bruising and commanding predator keeping body and emotions invigorated and fearful before the ‘epilogue’ like instrumental adventure of The Burning Sands of His Kingdom brings the album to a fine close. The electronically driven piece draws a cold and stark wasteland yet equally suggests hope with its melodically epic and intimately expressive tones within rugged scenery.

Over a handful of listens in and there is still more revelations coming forward within songs as Indoctrination of Sacrilege continues to reward, that in itself a strong reason with the diversity of sound and invention to check the album out. Wrapped in the excellent artwork of Colin Marks (Exodus, Scar Symmetry, Jeff Loomis), the release has been suggested for fans of Bloodbath, Dismember, and The Project Hate but also it is easy to suggest that those with a taste for bands such as Opeth, Mercyful Fate, and Escapethecult could do far worse than taking a plunge into Arbitrator and their first album.

Indoctrination of Sacrilege is available from February 13th @ http://arbitratorofficial.bandcamp.com/album/indoctrination-of-sacrilege

https://www.facebook.com/Arbitratorband

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Gorelust – We are the Undead

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It is fair to say that there has been a feverish and increasingly growing appetite for Canadian death metallers Gorelust since they disbanded in 1996, a hunger and attention as new genre fans discovered and devoured the band’s one and only album Reign Of Lunacy which was released the previous year. The acclaimed encounter became a hard to get, desperate to have proposition; that, fan clamour, and no doubt a personal passion for the band in PRC Music owner Rémi Côté leading to a long awaited re-release at the end of 2012 with the label. Now twenty years after their debut’s original release, Gorelust return with its successor and it is as if the band has never been away.

Feeling as if it comes from a time only moments after its predecessor but offering a fresh and modern brutality, We are the Undead is a ravenous beast of a proposal. Consisting of songs written before the band came to an end alongside new offerings, the album is old school death metal at its invigorating predatory best; arguably not loaded with major surprises but still sheds plenty of shadow over similar genre driven releases from younger and newer bands. When there is skilled craft and creative hunger inherent in a band it does not go away with time, the evidence right here in the cold embrace of We are the Undead.

With four of the five which released Reign Of Lunacy back on board, the Québec quartet open up We are the Undead with Lunacy Still Prevails…. It is a scene setting intro primarily, but a viscerally haunting coaxing with a threatening atmosphere and textures drawing ears and imagination into the raw turbulence of the following Rape the Rapist. The drums of Francis Marmen are an immediate flurry of intimidation and brutality, their threat matched by the throaty tones of Pascal Chevrier’s bass and the still distinctive and recognisable guttural roars of Jean Beaulieu. It is a thick and ferocious combination bound in the coarse riffery and sonic enterprise of guitarist Martin Fournier, it all uniting for a nostalgic come modern fury.

The imposingly solid start to the album is pushed on again by Entering the Kill Fest, its initial tenderising of the senses a tasty appetiser for the striding stalking of riffs and rhythms which take rein of the track soon after. There is a swing to the grooves and in less open declaration the delivery of Beaulieu, whilst the sonic invention of the guitar is a searing captivation. Mostly though, the track is pure anthemic temptation, a gripping persuasion emulated in the contagion of There Is No God. The song mixes its gait with fierce charges and more intensively threatening saunters accosting the senses, that alone inescapable bait though it is the primal growls of Beaulieu which put the tang in the poison, especially in the closing seconds where surely his throat lining was torn to shreds.

The album’s title track steps up next providing vicious smog of malevolence and musical savagery, as well as one of the loftier peaks within We are the Undead. Like a hell bred hound with a glint in its eye before ripping out its victim’s throat, the track sizes up and devours ears and psyche with addictive rhythmic bait and a torrent of unpredictable and swiftly changing riffery. It is a fascinating and blistering incitement, vocals and guitar ideation both an enthralling and flavoursome colour to the primal trespass of the listener.

The pair of Penetrating the Weak and City of the Cannibals keep this new plateau firmly prowled by the album; the first offering a rapacious and tenaciously attentive examination of the senses. Once more hell for leather onslaughts are fluidly led in to slower intrusive crawls and just as seamlessly out again. Every second of the track is a descent into the bowels of emotional corrosion and aural violation. Its successor has a more tempestuous almost bedlamic nature and enterprise to its body. Marmen as everywhere batters and bludgeons the senses with tremendous spite and inventive craft whilst musically the song is a maelstrom of sound which never settles in one thought for long. This ensures intrigue and pleasure is high and expectations left empty apart from being swamped by an old school sound which heavily satisfies every constant want from a death metal tempest.

Decapitate the Holy Whore and Farewell to the Flesh both have ears and appetite licking lips again. The first of the two is another delicious stalking with riffs and grooves as infectious and venomously bullying as the deep caustic scowls of Beaulieu and the rugged and salacious tempting and swings of Chevrier and Marmen respectively. Farewell to the Flesh is similarly sculpted in its template but soon spinning a web of sonic enticement and alluring colour through Fournier’s adventure and arguably the most compelling and tasty bassline on the album. Another pinnacle of the excellent release, it again has a more chaotic potency to its design and intent, and maybe it is telling that the very best songs on the album are those with this looseness and slightly experimental character.

We Are the Undead is completed by the hellacious Wretched Life, a final tsunami of death metal voracity to bruise ears and ignite the emotions. It is simply a fine end to an excellent encounter. As suggested earlier, Gorelust and We Are the Undead are not rewriting death metal or really challenging its boundaries, but without doubt both are giving it a thoroughly enjoyable treat.

We Are the Undead is available now via PRC Music @ www.prcmusic.com/store/index.php?route=product/product&product_id=1249

https://www.facebook.com/gorelustband/

RingMaster 12/10/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Bloodscribe – Prologue To The Apocalypse

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Formed in 2004, US death metallers Bloodscribe have taken their time getting around to unleashing an album, presumably due to circumstances rather than intent, but a decade after emerging they uncage Prologue To The Apocalypse. It is a ten track ravaging running for less than thirty minutes of senses blistering ferocity. Released through Los Angeles’ Gore House Records, the tempest brings death, grind, and slam essences into one accomplished and solid violation, and though ultimately it strongly impresses without igniting any massive excitement, the album puts Bloodscribe firmly on the radar.

Hailing from Boyle Heights, the quintet draw on inspirations from the likes of Dying Fetus, Through the Eyes of the Dead, Origin, Devourment, and Terror for their sound but as their debut assault shows, their sound also holds plenty of invention to not exactly set them apart from the pack but certainly make Bloodscribe a visible proposition live and on record within the local and broader scene.

The album’s 40 second title track starts Prologue To The Apocalypse off, providing a tempting incitement of ravenous riffs and equally imposing rhythms. It is a good entrance but not around long enough to be or offer much more before Pantheon Of Lies invades ears and personal space. Spicy inviting grooves make the first potent impression amongst another raw flurry of sound. Their presence is subsequently an intermittent offering as the voracious heart and muscular riffs, with similarly intensive beats, take over and prowl agreeably over the senses. With the occasional outburst of warlike hostility, the unsurprising but highly enjoyable track ensures the album leaves a swift good impression.

It is a strong imprint continued through Enslaved By Deceptions and Burning Bridges. The first is a predator, every caustic riff and heavily swung beat a natural threat and each grouchy growl of the bass and gutturally swinish vocal roar, viciously engaging. Again it is hard to declare anything new going on but plenty to get teeth and appetite into for a satisfying experience, matched by its successor. The fourth track is a more volatile confrontation, stalking and going for the jugular with alternating intent whilst ‘creaking’ with its flavoursome hooks and tempting via lumbering grooves.

Demons is a deliberate predacious stroll, with a great thick throated bassline for company and acidic sonic stabs of guitar for flirtation. It has little trouble enlisting full attention, rewarding bloodscribewith a more unpredictable character compared to other onslaughts within the album, though it is soon overshadowed by the excellent Annihilation. If other songs can be called predatory, the song is sheer bestial insidiousness. Riffs and rhythms cage and bully from the off even though they come bound in corrosive yet contagious grooves. As all the tracks there is a swing and underlying infectiousness, but here it is given full rein to seduce; just a shame the song is so short at barely over a minute. The juices start flowing and it dumps them and departs, though the next up Kingdoms Fall is not shy at bringing a catchy inhospitable climate and savage maliciousness to bear on ears, even if it lacks the compelling virulence of its predecessor.

Both the sinister fuelled Shadows and the sonically rabid Castrating Humanity trespass ears and psyche with proficient and pleasing rancor, the first breeding a noir lit atmosphere around its insatiable and captivating brutality. The second of the duo similarly entangles the imagination in black hearted scenery of suspicion and demonic oppression, bass and drums especially picturesque in their rapacious endeavour around the ever composed yet rabid vocals.

Completed by the resonating presence of In Ruins, another lingering assassination of hope and light with additional creative cruelty, Prologue To The Apocalypse is an increasingly enjoyable and impressing proposition. As mentioned it has enough to make Bloodscribe a prospect worth paying continued attention to, even if right now they and album do not manage to quite light a blaze of excitement. It is impossible not to recommend its investigation though.

Prologue To The Apocalypse is available now digitally @ http://bloodscribe.bandcamp.com/album/prologue-to-the-apocalypse and on CD via Gore House Productions @ http://store.gorehouseproductions.com/

https://www.facebook.com/bloodscribe

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today