Hollow – Mordrake

Hollow - Press Photo

There are some debut albums which impress, some which raise a depth of excitement sparking a long term connection, and then there are some like Mordrake from Canadian death metallers Hollow which simply have you shouting feverishly from the rooftops. The release is an extraordinary maelstrom of startling invention, mouthwatering imagination, and enslaving hostility which simply blows thoughts and passions away. There has been talk of great things about the Montreal quartet from their live performances and previous release, the six track EP Cynoptic Eschaton, but it is fair to say we were not expecting something so devastatingly brilliant for our first introduction to the band.

Formed in 2009, Hollow has earned a fine reputation and potent presence across Québec and Ontario moving across their homeland through their live incitements which has seen them excel alongside the likes of Voïvod, Suffocation, Sword, Jungle Rot, Iwrestledabearonce, Blackguard, The Agonist, Beyond Creation, Marduk, 1349, Tyr, Orphaned Land, and many many more. Cynoptic Eschaton drew further strong acclaim and attention with its release in 2010 which Mordrake is sure to emulate in much greater strength and expansion. Bringing new character to some of the tracks on the previous EP and plenty more new breath-taking encounters within its twelve song body, the Kevin Jardine (Slaves on Dope) produced, with Dan Lauzon (Entropy) and the band, album was recorded with an uncluttered ‘analogue’ like approach which brings a raw and honest dimension to the proposition allowing music and individual craft to paint a stunning fiercely textured adventure.

Opener Lament Configuration emerges upon a sonic prowl which is almost lumbering in its gait and thoroughly engrossing in its Album Cover - Hollow - Mordrake 2014 - smallsearching sonic exploration over the senses, the fingers and strings of guitarist Cadaver already capturing firm attention. Pungent rhythms add to the portentous tension brewing within the dramatic coaxing whilst orchestral melodies and harmonies soak the oppressive atmosphere lying thickly over the evolving scenery. Eventually the band step from the initial evocative smog with a surging stride of riffs and concussive beats from Blaac which vocalist Mott roars over with every muscle of his malevolence. It is an impossibly contagious charge which is just as compelling in its imaginative twists and enticements, not forgetting individual skills, as in its turbulent catchiness. The track is the thrilling declaration of things to come, a tempest of bewitching ingenuity and lethal aggression within a blackened pestilential beauty of sound and creative intent.

It is a staggering start which both Cryptic Howling and A New Life explosively reinforce. The first is a voracious torrent of rhythmic rabidity matched by an unbridled hunger in riffs and outstanding vocals, Mott gloriously unpredictable in his venomously corrosive varied delivery. Within the scourging onslaught, bassist Snow finds an even more intensive bestial voice from his strings to add to the hellacious web, a tone which is as at home sculpting a carnal texture to the vitriolic attack as it crafting deliciously haunting lures to the enthralling melodic hues which seduce robustly later in the track. The track is a severe examination of senses and psyche with more riveting rewards in its single body than most death metal bred albums offer across their full lengths, a treat repeated by its predecessor. Entwining ears in a climbing vine of sonic imagination which is soon under a tsunami of pungent antagonistic intensity and ravenous enterprise, the track adds to its surprises with contagious grooves which lead to a heavy metal endeavour beneath a symphonically seeded elegance. This is all around a heart which is predatory in the extreme and soaked in a simply irresistible rapacious appetite.

It should be noted that whatever description tracks are given here they only hint at the whole picture, so much going on and being sculpted that it is impossible to truly represent their brilliance and impossible to take all in on just a few encounters ensuring the album is a constantly giving proposition with every assault. The next up rampage of Landscape is instant proof, its ferocious vehemence in sound, vocals, and imagination a senses eroding, thought provoking ruin which wrongs foot with majestically flighted harmonies of keys casting seducing melodies. As ever it is just a twist in the soundscape of the song’s blisteringly shaped and exposed narrative, the track a purposeful sublimely designed meander that chains mind and soul from start to finish, whilst lorded over by the just as impressive vocal diversity of Mott, more of which coming later.

The pair of Iscariot and Sunriser throws senses and imagination into further exacting furies, both again intensive weaves of addictive hooks and toxic grooves upon exhaustingly adventurous and demanding canvases. As with every track on Mordrake, each is a distinct individual with the first finding a poetical grace in the keys within a uncompromising plague of voracity whilst Mott brings a brief but just as impressive clean twist to his vocals amidst another range of guttural and poisonously squalling growls. It is a glorious track which is followed by the just as staggering triumph of Sunriser, clean vocals given another outing whilst standing in a storm of demonic toxins from the raw throat of the frontman. The bass of Snow is also a real highlight in the foreboding drenched climatic air of the song, though to be fair to all the encounter is a scintillating blur of inventive animosity and imaginative pestilence for which all deserve the outmost credit.

     The emotively driven Vlad comes next, a track we assume inspired by a former band member from the band’s first days who passed away unexpectantly. With keys and violins an insatiable seduction, the song is another which rabidly suffocates as it inflames senses and emotions before making way for the provocative epidemic of sound and fascination that is Anomie, a track bringing orchestral flumes into an entanglement with heavy metal wantonness; keys, bass, and guitars conspirators in a savagely hued, magnetically cultured creative virus.

Generally in an album so incredibly gripping and awe striking there are going to be lulls or weaker moments but honestly Mordrake holds no such inventive languor, the following innovatory alchemy of both the chilled Snow where those cleaner tones of Mott are given extra time and the hypnotic maze of Birth, rhythmically and sonically as spellbinding as anything on the release. The same applies to closing tracks Hate and Death, two final incendiary expanses of fertile minds and musical ingenuity.

Mordrake is simply remarkable, one of the most promethean debuts in a long time and certainly within death metal this year, though Hollow have a sound and presence which you cannot confine to a single genre or singular mind-set. A brilliant album from a brilliant band, what more do you need to know?

The self-released Mordrake is available via http://hollowcanada.bandcamp.com/album/mordrake

http://hollowofficial.com/

10/10

RingMaster 30/05/2014

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Nidingr: Greatest Of Deceivers

Photo Haakon Hoseth

One of the most visceral bands has again stepped forward with a release which without much debate stands as one of the best extreme metal releases this year. Norwegian devastators Nidingr since forming seeds in 1992 has rarely if ever left senses intact from its full entrance three years later, their complex and enthralling creativity and destructive power a scarring and corruptive conquest providing only the fullest rewards, but new album Greatest Of Deceivers can be marked as possibly their finest hour to date. The release is a triumph of corrosive invention and erosive enterprise, a combination which ignites scorching fires of passion whilst exposing undiluted thoughts all within scourges of caustic energy and aggression to cage and accelerate those reactions. It is a masterful piece of venom marking Nidingr as one of the greatest exponents and deliverers of the darkest rabid shadows.

Consisting of present and past members of bands such as Mayhem, Gorgoroth, DHG (Dødheimsgard), 1349, and God Seed, the quintet from Horten has followed up 2010 release Wolf-Father with a release which continues the theme based on Enochian texts which cored debut album Sorrow Infinite and Darkness of 2005. As with that release Greatest of Deceivers evokes ten Enochian Æthyrs through its expansive and emotive soundscape for a record which searches before opening up dark corners and expressive emotive realms lyrically as potently as it does musically. The album is a release which unveils more texture and depth with each engagement, with the pleasure and coarse rewards only deepening upon every contact too.

Combining a furnace of black, death, and thrash metal, the line-up of band founder Teloch, Blargh and Estrella Grasa who joined the band in 2005, Øyvind Myrvoll who linked up in 2010, and Void, has created a vibrant yet insidious tempest of devastation across the album which lingers far after its departure, the openly contagious yet barbed grooves and riffs, as well as the synapse fusing melodic invention, a storm which triggers a memorable captivation as insistently infectious as it is mercilessly debilitating. Starting with the opening title track, the album seizes control and manipulates the listener with maniacal and insidious ‘charm’. The song from its first second tramples the ear under scything riffs and pummelling rhythms, an instant numbness at play for the caustic vocals and concisely picking melodic cuts from the guitars to unleash their immense creative intent. Across its rampaging and ravaging onslaught the track is unrelenting in accosting and rupturing the mind and emotions whilst adding a craft of imaginative and explosively creative sonic relief which leaves every atom greedy for more.

It is an impressive assault but in hindsight is revealed as a mere teaser to greater annihilatory beauty from tracks like All Crowns Fall, O Thou Empty God, and new single from the album Vim Patior. The first sears flesh and senses with a sonic cloud of abrasive spite with the rasping acid vocals as equally mordant whilst the second is a senses chewing violation of predatory riffs and prowling rhythms which dazzles inventive diversity and towering innovation. It is a track which has one hand on best track honours on the album though all songs offer plenty of arguments for that title, such as Vim Patior, the track an insatiable rub which scalds with pungent sonic rabidity to leave a pulsating soreness by its end on flesh through to thoughts.

Into its stride the album offers up the impressive punkish contagion Rags Upon A Beggar which hands over to the exceptional bruising of The Worm Is Crowned for a mighty aural twining, the latter of the pair a scathing hungry brute of a track with a touch as acidulous as it is a stunning exploration of devastating ideas. Beneath the torrential flames of noise and greedy intensity the vast well of creativity and imagination in song and album as a whole is breath taking and as mentioned something which offers a new taste with each return to the release.

Adding further great heights of excellence before its end with the likes of the swaggering Pure Pale Gold with its wicked intent openly soaking every note and the similarly mischievous closing track Dwellers In The Abyss, both with grooves and hooks which have a glaring malevolence to their seductive swing, Greatest of Deceivers is a staggering slab of extreme glory. Released via Indie Recordings, the album if not the the very best of the year is right in the frontline for many ‘awards’ and acclaim come the end of 2012 and beyond.

http://www.facebook.com/nidingr

RingMaster 18/11/2012

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