Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

www.facebook.com/pages/Acheron/128581467223407

9/10

RingMaster 26/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Karnak – The Cult Of Death

new_signing

Uncompromising and ravenous, the new mini-album from Italian death metallers Karnak is a furious consumption of the senses but equally a deceptively rewarding one which with bravery and strong will before its ferocity provides a compelling and invigorating examination of senses and thoughts. Made up by five predatory tracks, The Cult Of Death is an annihilatory turbulence through the ear which consists of four new songs linked to a concept inspired by Aleister Crowley, as well as a cover of a Celtic Frost track.  With savage essences which put you in mind of the likes of Incantation, Pestilence, Nile, Morbid Angel, and Suffocation, the release is a potent and dramatic gnawing of the synapses marking the Monfalcone hailing quartet as a persistently formidable proposition.

Formed in 1993 by drummer Stefano Rumich, the band released numerous demos before making a strong impression away from their local area with debut album Perverted, the first release under the name Karnak. This was successfully followed by Melodies Of Sperm Composed, an album which saw the band evolve from their initial pure grind/death metal stance exploring elements of jazz, samples and more to add flavour and colour to the still destructive tempest of sound. Third album Tutti I Colori Del Buio was released in 2002 before the band went on a break provoked by line-up changes. 2009 saw their return and the signing with Casket Records with the release of fourth album Dismemberment coming the following year. A tour supporting Krisiun and Kataklysm pushed the band out further in 2011, though by now having supported the likes of Impaled Nazarene, Suffocation, Nile, Decapitated, Avulsed, Necrodeath, Pyogenesis, Destruction, Fleshgod Apocalypse and more over the years, Karnak was no longer a hidden secret. Last year the band supported Malevolent Creation, Krisiun, and Vital Remains on another European tour followed by another with Deicide. Currently working on their next album, the line-up of vocalist/guitarist Francesco Ponga, bassist/vocalist Lorenzo Orsini, guitarist/vocalist Marco Polo, and Stefano Rumich raise real anticipation and hunger for said release with The Cult Of Death, its bestial creative assault wholly persuasive.

The opening Intro just lays out a simple rhythmic beckoning but its temptation is irresistible and almost tribal as it evolves into The cover_karnak_thecultofdeathConstruction Of The Pyramid (The Demon’s Breath) who replays its offering before opening the gate to an intensive exhausting technically honed riff driven blaze which scorches the senses with the brewing animosity of the song and its breath is not far behind in carnivorous intent. With vocals roaring like the oldest colossal predator imaginable, the track lurches at the senses with insatiable energy aligned to a more restrained but unreserved sonic and rhythmic stalking. Furies of technical and acidically melodic guitar do initially wrong foot emotions after their submission to the easy to devour onslaught, but soon persuade craft and evocative hues.

It is an impressive start repeated and then surpassed by The Construction Of The Pyramid Beta (Invocation), the Meshuggah like web laid down around the passions at the start over run by the torrential thick sonic mass of intensity and suffocating ambience. Doom oppressive and sludge lumbering, the shift bleeds the air of light and oxygen but equally ignites thoughts with shards of melodic light and colour before the nightmarish soundscape with its heaviness and rabid vocals seems to claw like a swarm of patient demons at the psyche. As with the release it is not at times the easiest or most comfortable listen on first impressions but beneath the barbarous surface and many deeper levels there is a magnetic and superbly crafted well of invention and skilled temptation.

The nagging chugging which leads the song to a dissipating climax is immediately thrown aside by the sadistic entrance of The Construction Of The Pyramid Gamma, a start which is only built upon and intensified the further the track chews at the ear with the drum attack of Rumich unrelentingly and impossibly thrilling. Also unafraid to bring a potent melodic and sonic adventure to the striking narrative of the release, the track is a frequently changing and provoking treat concluding and summing up the new songs and strength of the album perfectly.

Completed by the cover of Celtic Frost song Jewel Throne, the release is an enthralling malevolent engagement. The final track is more than decent but as accomplished as it is it is not a match for the previous trio of songs. Quite simply The Cult Of Death really gets the appetite aflame for Karnak’s forthcoming album whilst making a thoroughly satisfying meal right now.

http://www.karnakdeath.com/

9/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com