Castrator – No Victim

photo by Jorge Riaño

photo by Jorge Riaño

It is fair to say that the focus of plenty of the carnage and brutality cast by extreme metal songs protagonists are women; ‘weak’ dispensable victims to suffer and be abused as a theme. But now they have a voice and a just as lethal instigator to lead an uprising in the shape of death metallers Castrator, a band turning the tables and dishing out their own unrelenting revenge and creative ruin. The band consists of five pissed-off ladies, but each is also a skilled musician creating a voracious sound and in the shape of the No Victim EP, a debut release to match.

NYC based Castrator is made up of an international and prolific musicians hailing from Colombia, Florida, Mexico, Massachusetts, and Norway. Identities and background are scarce to be honest but the line-up of the band is vocalist M.S., lead guitarist/vocalist P. Serrano, rhythm guitarist M.D. Åkesson, bassist Robin Mazen, and drummer C. Perez. Their sound is sheer death metal ravishment which has led to references to Cannibal Corpse, Cerebral Bore, Dying Fetus, Incantation, Obituary and the likes coming their way. They expel an emasculating extreme brutality which certainly on No Victim rages lyrically, sonically, and emotionally on the listener like a primal tsunami.

frontcover     The first intensive examination comes with Honor Killing, a fury of ravenous riffs and excruciating rhythms from its first breath. There is no escaping its ferocious and rabid onslaught, or the melodic enterprise which subsequently veins the tirade of viciousness. The song also has a core swing to its tempest which is as contagious as the predatory riffery driving the incitement, whilst vocally the venomous deliveries have an intensity and uncompromising expression which instils even greater hostility in every syllable spilled. It is fair to say that the band is not worrying the outskirts of originality with the song but it barely matters in the thrilling abusing of ears and igniting of pleasure.

The following Brood has an even heavier destructive breath to its raging, every riff seeming more rabid and rhythm malevolent than the one before, a potency matched by the guttural vocal confrontations. Featuring a guest solo from Immolation guitarist Robert Vigna, the track grows in stature and dark devilry with every minute of every listen, bass imagination and guitar grooves especially flavoursome with their toxic endeavours.

The Emasculator opens on a sample from the film Hostel 2, male destruction the fuse to an unbridled and corrosive sonic devastation of the senses. Hooks and grooves again add inviting spices to the wall of rabid maliciousness but it is an avalanche of sound and rancor unafraid to twist and turn with unpredictable ideation and at times doom bred enmity. It is an outstanding track quickly matched by the EPs title track, itself a cancerous trespass of sound entangled in wiry grooves and blistering sonic spite aligned to a rhythmic tirade and discordance. As its predecessor, the track is a web of at times understated imagination, little turns and sparks of invention swallowed by the onrush of sonic and rhythmic violence but bold enough to still reveal their qualities.

The final two songs offer the strongest uniqueness upon the EP, and all leave appetite and bruised senses hungry for more. ‘Hell hath no fury like a woman scorned’ the saying goes, and now armed with the craft and attitude of Castrator, the worm has turned within extreme metal with exciting results.

The No Victim EP is available on CD now via Horror Pain Gore Death Productions @ http://www.horrorpaingoredeath.com/store/hpgd109.html and digitally @ https://castrator.bandcamp.com/album/no-victim-ep

https://www.facebook.com/CastratorBand

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Funerary Bell – Graveyard Séance EP

Funerary_Bell_bandphoto

Recently signing with Saturnal Records, Finnish occult black metallers Funerary Bell unveil their first proposition with the label in the Graveyard Séance EP. It is two tracks of primal and insidiously compelling sound, a release eating at the soul whilst seducing the senses with its black-hearted evocation. It is four years since the release of the band’s debut album The Coven, and two since cassette EP Horrific TransCosmic Overture, and it is fair to say that the Jyväskylä band has evolved an even darker more enthralling side to their creativity since then.

Now a five-piece since the recording of the album, consisting of band founder and vocalist/keyboardist Invoker of the Shadows, guitarists Not of This World and Caller of Sepulchral Doom (lead and rhythm respectively), bassist Henchman of the Untamed Forces, and drummer Neverending Storm of Mars, Funerary Bell are also working on their second full-length. Graveyard Séance in many ways is the teaser to that upcoming adventure, a sign of where the band is in sound and going in ideation. Safe to say, that its two tracks will only breed an even hungrier edge to the anticipation already brewing up for the album, which will also be released on Saturnal Records.

Funerary_Bell_-_Graveyard_Seance_Cover     Afterlife On Earth is first up on Graveyard Séance, a swiftly in place turbulent stroll of rumbling rhythms, senses worrying riffs, and a sonic weave of melodic intrigue. Just as quickly the ruinous nature of the vocals and narrative is working away on the imagination too, whilst keys wrap it all in alluring psyche rock colours. As predatory and intrusive as the track is, its contagious undercurrent most steals the appetite as also the sultry mystique which infests guitars and the bewitching melodic enterprise erupting throughout the incitement. Unafraid to weave in some classic metal hues into the blackened devilry playing with and exciting ears, band and track create a swing and infectiousness to the ruinous climate which only leaves a good taste and hunger for more of the infernal trespass.

The following Eleanor’s Garden is a slower, even more predatory prowl with a heavier atmosphere and touch to match. Its gothic air, courtesy of keys, only adds to the doomy immersive qualities of its crawling presence. There is also real bleakness to the dark charm cast by strings and keys, an intrusive melancholy which almost has a life of its own, one just as keen to seduce and ravish the senses.

Impressively different but aligning to provide a highly riveting teaser of things to come, both tracks provide evidence that Funerary Bell are as impressive and vital as ever within blackened metal circles, but might be heading to their finest devouring of the senses yet.

The Graveyard Séance EP is available now via Saturnal Records @ http://www.saturnalrecords.com/shop/index.php?main_page=product_info&cPath=12&products_id=390

https://www.facebook.com/funerarybell

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Feanor Omega – Anima

Feanor Omega Live2015

It may be raw and at times uncomfortable on the senses but Anima is equally one fascinating invasive proposition. The debut solo album of Feanor Omega, an Austrian musician with a long list of projects and bands played with on his CV, including Sakrileg, Make A Change… Kill Yourself, Tongueless Cuntkiller, and Scargod, Anima is an absorbing and ferocious embrace of styles and textures within unpredictable and atmospheric black metal climates. At times it is a corrosive listen and in other moments a melodic seduction, but from start to finish ears are held and thoughts relentlessly intrigued.

With just bassist Mike Hell (Disastrous Murmur, Sakrileg, Scargod) alongside and an occasional guest contribution, Carinthia hailing Omega creates a series of individual yet emotionally united soundscapes which absorb and immerse the listener with varying effects. It all starts with Waiting and a gentle melodic caress of guitar. There is an immediate calm and elegance which washes over the senses though in the background brews a darker more tempestuous air. Its break through is not as ravenous as first expected, beauty and raw causticity uniting to temper any emotional trespass whilst similarly potent clean vocals mingle with pestilential squalls as the track ebbs and flows with intensity and dark charm.

Bracing sonic winds brings Otherworld swiftly into view next, the track opening with a cloudy imposing atmosphere though one soon showing clearer melodic skies crafted by guitar and again clean vocals. Everything about the song and indeed album has uncertainty though, an unpredictable breath which means nothing can be taken for granted, any peaceful passage coming lined with threat or a ruinous underbelly whilst any destructive incitement carries the means to fluidly slip into calmer if still intimidating waters.

ANIMA_cover_web   Risen is such an example, its opening oasis of melodies and nature bred flirtation soon the centre of a tsunami of sonic ravaging and rhythmic hostility yet that too has its own invasive beauty lit by the maelstrom of vocals. It is not an easy listen at times but continually an alluring one, which as the album itself, leaves the seeds to entice the listener back again and again. That fertile essence in an arid sonic landscape emerges again with captivating guitar craft from Omega, its beauty immersive in the ever waiting inhospitable air.

The bracing instrumentation of Drowning next inspires an equally enticing clean vocal delivery. Omega is not the greatest vocalist you will meet but one which really manages to sync his tones and vocal character with that of the sounds around him. It is a great track, a respite before the abrasing presence of Die Sonne Weint, though it too, as all songs, veins the ambient fury with emotive strands of delicious melodic enterprise. There is a serpentine air to the song, an insidious essence which seeps from every squall and pernicious blaze of sound and also prowls the following Noir even in its more temperate climate. The shadow loaded instrumental is a canvas for the imagination to paint, though its bare emotion and stark atmosphere is an instant incitement to spring ideas from too.

The twelve minute plus Epos: Anima similarly is a palette for thoughts and emotions, an asylum like air which underlining every second and sound of the black metal and acoustic union. If a little over long for personal tastes, there is no hiding place within the controlled bedlam of the track from its emotional rancor or its tantalising imagination.

Missing Home provides a turbulent and darkly charming finale to the album with bonus track Not All Those Who Wander Are Lost providing one last impressive piece of composing and instrumental poetry. Both tracks ensure a great end to the thoroughly intriguing and ultimately enjoyable proposition. It does test but also rewards across it magnetic length, and though Anima will be too much of challenge for some it is a proposal all black, extreme, and atmospheric metal fans should at least investigate.

Anima is available now on CD and digitally @ https://feanoromega.bandcamp.com/

https://www.facebook.com/feanor.omega

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

 

 

 

Erik Dismembered – Darkness Within EP

 

artwork by Robert Mallinson,

artwork made by Robert Mallinson,

 

As much as music should entertain and excite, it should also challenge. Whether it is physically or emotionally, the most thrilling and impacting encounters have been those which leave lingering imprints on thoughts and feelings whilst taking the listener to places they probably do not want to go. One such incitement is the Darkness Within EP from Erik Dismembered, an exploration of inner demons and external provocations breeding the merciless depths of its title. It is also a masterful weave of sound and imagination, a testing some will embrace, others fearfully flee, but all will be left locked in thought and self-awareness.

Erik Dismembered is the solo project of Arizona musician Erik Martin, better known to date as part of death metal duo Critical Dismemberment and the extreme-metal/industrial pairing of Skin Drone. His own project is a unique exploration compared to those bands though there is the same hunger to push and challenge not only the listener but his own creative limits. Erik Dismembered pulls on a vast array of flavours and textures, some familiar as in his other bands, but predominantly they are unexpected essences and styles woven one startling creative experiment.

Lyrically and emotionally each track within Darkness Within plays like stark slithers of insight into a bigger darker picture; themes such as addiction, love, hate, anxiety, and depression combining to create not exactly psychotic but certainly turbulent protagonist(s) explored by the release. How personal to Erik the premise and experiences within tracks are only he can tell but there is an intimacy which is shared by creator and recipient that hits hard, openly, and truthfully.

The EP opens with A Deal with the Devil, a track also featuring Critical Dismemberment band mate Chase Fincher. A guttural roar opens things up, swiftly accompanied by a gentle electro beckoning. The returning raw vocals keeps that initial edge and intimidation blazing as guitars add their sonic tempting to an increasingly tempestuous ambience. Industrial and metal essences entangle within the growing magnetic landscape whilst electronic flirtation bubbles vivaciously across their dark web. There is an agitation to it all also, the lighter and shadowed elements showing an emotional unease which especially coats the lyrical persuasion and erupts forcibly in the outstanding Anxiety.

A melodic electronic shimmer make the initial coaxing, it’s haunted breath the invitation to incessant beats and the whispered anxiousness of Martin to engage the imagination. Scything strokes of guitar aligned to heavier vocal tones erupt soon after, pungent beats adding more sinew to their potency before keys burst into a blaze of harsh electro/industrial tempting with a feel of God Destruction and Bestias De Asalto to it. As Martin shuffles thoughts and options in the lyrical incitement, the earlier dark calm returns before again it all build to an unstoppable emotional crescendo and raw physical expulsion. The feeling of entrapment within feelings and external/internal pressure is superbly exposed by the song, almost leaving the listener also struggling to breathe through solicitude in its wake.

Diamond Eyes floats in next, acoustic guitar accompanying a vocal caress to mesmerise ears before evocative strings and piano seduce with their orchestral elegance. The vocal romance has its own shadows; an undefined dark hue which lies enthrallingly within the poetic charm of the song, keeping thoughts intrigued and busy before the EP’s title track takes over and immediately lays down a colder, starker scenario. Black depths expel their fears in voice and sound, grasping at shards of piano spawned light, clinging to it with hope but swallowed by the festering shadows clawing at psyche and emotions. There is no escaping the power and intensity of words and tone, and again you wonder if only those with intimate experience can achieve this potency in their music.

Most tracks stop with abruptness, their space instantly taken over by its successor and where that feeling of songs being glimpses, parts of a larger almost unstable picture emerges. Darkness Within is an example its sudden end quickly the unrelated start of Desecration of a Corpse, itself a caustic roar of industrial and corrosive magnetism. Melodies float as sonic ferocity sizzles and tempestuous vocals spread raw angst across a discordant electronic shuffle. It is transfixing, a mesmeric and uncomfortable consumption of ears and thoughts in sound and words which only leaves a fierce appetite for more.

The EP closes with the haunting Weary Hearts, a tender emotional kiss on the senses which in some ways is the most disturbing song on the release such its immersive strength and ghostly reflections. It makes for a riveting end to an outstanding encounter, a release which takes on an exploration which is unafraid to bare its darkest corners and soiled emotions, but are you brave enough to join it is the question?

The Darkness Within EP is available now as a free download @ http://bluntfacerecords.com/erik-dismembered-music

http://www.erikdismemberedmusic.com/   https://www.facebook.com/erikdismemberedmusic

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Glenn Hodge Banned – Family Man

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Awoken to the punk folk, to give it a name, prowess of Glenn Hodge Banned through the outstanding Iconoclast EP last year, it is fair to say we had a tingle of excitement going into the London based musician’s new single Family Man. Carrying on the infectious adventure crafted by the previous release, the new song is an equally irresistible stroll of lyrical and creative revelry taking another honest and striking look at a slither of life.

Originally from Ashford in Kent, Hodge was brought up in East Anglia but it was once moving to the capital that his musical adventure really began. Surrounded by inspirations to breed his catchy and often mischievous folk seeded songs, the singer songwriter soon built a potent reputation on the city’s live scene before releasing the well-received single Faces on Tables in February of last year. Its success led to keen anticipation of the acclaimed Iconoclast EP, a collection of magnetic songs from Hodge looking at city life and personal relationships with honest social commentary, an exploration as mentioned continuing in Family Man.

cover     The single opens with a strum of guitar which quickly becomes a constant coaxing as Hodge begins his magnetic narrative. It is a lively acoustic start with voice and lyrics easily the focal point but wrapped perfectly in the lean sounds around them. Things expand and reveal greater colour when harmonies caress a moment of calm with their enticing presence whilst after another inviting passage like at the start, the rigorous chorus adds a moment of boisterous energy to the already gripping persuasion. Things continue to ebb and flow in energy but not in magnetism, the song musically and lyrically taking an increasingly tighter hold on ears and imagination as it explores the protagonist of its title and dark secrets.

Family Man just lights up the senses, reinforcing the impact of the last EP and confirming Hodge as one of UK’s brightest and resourceful songwriters/musicians. If the likes of Billy Bragg, Ste McCabe, and Frank Turner catch your ears then Glenn Hodge Banned is an exciting must.

Family Man is available now @ https://itunes.apple.com/gb/album/id990246719

http://www.glennhodge.com/   https://www.facebook.com/GlennHodgeBanned

Upcoming live shows:

11th June      Upstairs at the Ritzy, Brixton, London
4th July        The Spice of Life, Soho, London
17th July      Brentwood Festival, Brentwood, Essex
23rd July     Ambition Festival, Matthews Yard, Croydon, supporting Beans on Toast
23rd August Beautiful Days Festival, Devon

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net