Crawling shadows and serpentine seductions: coursing the depths of Sidious with vocalist/guitarist Isfeth.

Sidious © Fabiola Santini

© Fabiola Santini

 

The recent release of Revealed in Profane Splendour from British blackened death metallers Sidious, showed that the band’s first EP Ascension to the Throne Ov Self was not just a flash in the fires of hell. It was also compelling evidence that the band had discovered and was exploring even richer depths to their sound and intensive invention. The time between releases also saw the band facing line-up changes whilst forging equally potent heights with its members other projects like Eye Of Solitude. Revealed in Profane Splendour provides an insatiable temptation of sonically carnal and uncompromising raw beauty which skilfully enslaves ears and ignites the imagination. It also sparked a thirst to explore the heart of the band and the corners of their release, so with big thanks to vocalist/guitarist Isfeth we looked at the origins of the band, the impact of the changes within it between release, lyrical inspirations and much more…

Hello Sir and thanks for taking time out to chat with us.

First up can you give us some background to the beginnings of Sidious?

Sidious was founded by Indomitus, Baalrath and I in 2012. We had collectively played together in various acts for many years – particularly in the case of Indomitus and I, for which it has now been 8 years. At this point we had been involved in various death metal acts, yet decided the time was right to pursue our true passion, black metal. The idea had been discussed continuously, but it had to be the right time. We infused our technical and aggressive death metal background with the grandeur and venomous roar of our black metal influences to create our sound.

Many of you are involved with Eye of Solitude as well as having other projects and experiences under your belts. Where or what specifically in Sidious and its sound did you deliberately start exploring which was different to the other bands you are involved in?

The will to create Sidious was always there, it was more a case of waiting for the right time and maturity in our collaboration to act upon it. We initially began exploring darker and more elaborate elements, maintaining the aggression but also focusing on atmosphere.

So the band and its music been brewing up inside in thoughts and ideas long before Sidious was born but was the coming together of the band more a swift let’s get together and see what we can come up with or a long-term process?

There was nothing swift about the process and founding of the band, it had been a long-time coming and had been thought through.

Your debut EP made a potent mark and statement upon its release last year and now you have unleashed the beast that is debut album Revealed in Profane Splendour. Immediately it sung sidious 2out in new adventure and exploratory evolution from its predecessor; how from inside the band do you feel your music and the album has moved on from the Ascension to the Throne Ov Self EP?

The line-up has changed since the EP, the departure of Void (vocals) and Fahim (drums) resulted in the recruiting of Khrudd (drums) and repositioning of myself to vocalist – whilst continuing my role as guitarist. I feel the music has evolved naturally during this process and we have further refined our sound. The album conveys a more intense array of emotions and certainly a wider range of influences.

In our review we described Sidious as blackened death metal but the album shows there is a maelstrom of flavours and elements which make up your incitements. Were there specific elements you went after on songs musically or was it predominantly an organic emerging of ideas and tracks?

When writing a song, it typically starts with an emotion or message we want to convey within its contents. An example I can give here is Infernal Reign having a barren and cold atmosphere to represent complete isolation from religious hypocrisy. Sections of the tracks, including speed riffs and the more technical elements, are added during the process, which are either brought in by a member or collectively written in a more organic writing session.

Are there any inspirations which you might say have added a colour to your music, or certainly sparked ideas within Sidious?

By majority we are all big fans of classical music. This has inspired our use of orchestral elements and added to our overall sound. Both Baalrath and Indomitus are classically trained to a high standard. Khrudd and I are big fans of depressive and atmospheric black metal, so there is also influence in that respect when concerning atmosphere and ambience. In terms of lyrical content I am inspired by literature concerning anti-theism, and Satanism.

Talking lyrically the album is as brutal and antagonistic as it is sonically, what was the core bait for your furies on the album?

My lyrics seek to denounce religious systems and ignite the realisation of self-potential and purpose. I am enraged by the continual recycling of ancient ignorance. There is no place for it. The masses pander to the foreboding call of failure; it sculpts the existence of the weak and leads them blindly into an inevitable void. Although the themes are consistent throughout, I present them in various forms. This ranges from anger and complete hatred, to the stating of principles and demands, many of which are based around my personal interpretation of Satanism.

Sidious coverTell us about the recording of Revealed in Profane Splendour; did you approach it any differently to the previous EP especially with new members involved and musically did you explore any different ideas and technics with the album compared to your other projects?

We recorded again with Russ Russell at The Parlour Recording Studio. Russ is a master of his craft and working with him is always an inspiring experience. We did explore a sharper and more aggressive guitar tone for the album and also spent considerable time finding the right sound for the orchestral and atmospheric elements.

Was the album mostly complete going into the studio or did it evolve more in that scenery?

I would say the album was 90% complete before entering the studio. We always leave a little room for improvisation and spontaneous ideas – from experience, being in a studio setting, particularly with Russ Russell, inspires all kinds of ideas. We always aim to create something authentic.

How long did it take to bring the album to life and was it difficult to bringing it all together because of your other bands any time restraints etc.?

The album was written over 6 months – within which we met up pretty much every other day. The recording process took a total of around 11 days. There was no difficulty in bringing everything together, we are always focused on what we want to achieve.

Sidious has seen a couple of changes in personnel as you mentioned earlier since the recording of the EP, how did that specifically impact if at all, on the band and more so the recording of Revealed in Profane Splendour?

The key song writers in the band have remained consistent throughout the line-up changes, so there were no major changes during the writing process. The addition of Khrudd (drums) naturally added a new creative element to the drum tracking. The realignment saw me take over vocals and therefore naturally gave me a dual role which I embraced completely.

Additionally taking on that role how does that affect songs with obviously no voice being the same; did you have to tweak existing tracks slightly in that department for your own tones?

For live shows I have certainly presented my own take on Void’s vocals from the EP. The songs have remained the same by majority, and we maintain playing various EP tracks during our live set.sidious 3

Is there any particular moment on the album which gives you a personal tingle down the spine? For us it is that opening rhythmic coaxing of Sacrilegious Majesty.

The intro to Annihilation Ov Abhorrent Credence and the mid-section of the title track are personal highlights for me.

Going back to Russ Russell, he seemed to find and understand in production the sweet spot between the hostility and melodic beauty which unites across the release?

Russ is certainly a master, he really takes the time to understand the intentions behind a song or section and through him we have been able to present our creations in their full intended form.

Tell us about the outstanding artwork wrapping the album.

The artwork was created by Giannis Nakos of Remedy Art Design. We had worked with Giannis through Eye of Solitude, therefore he was the number one choice. His art is outstanding and we are very proud to encase our music within it.

What is next for Sidious now the album has been uncaged?

We have so far played some nice shows including, main support for Anaal Nathrakh, Kaotoxinfest and Wrongstock. We were recently confirmed for Incineration Fest and are in discussions with another UK black metal band about arranging a tour for next year.

Thanks again for talking with us. Any last words or thoughts you would like to leave us with?

Thanks for the questions.

To readers: Check us out. Keep supporting extreme music. Infernal hails.

 

Read the review of Revealed in Profane Splendour @ https://ringmasterreviewintroduces.wordpress.com/2014/11/05/sidious-revealed-in-profane-splendour/

https://www.facebook.com/sidiousofficial

Pete RingMaster

The RingMaster Review 12/12/2104

Copyright RingMaster: MyFreeCopyright

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

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http://listen.kaotoxin.com/album/revealed-in-profane-splendour

 

Stranger than brutality, bloodier than fiction: an interview with Morgue Orgy

Morgue Orgy Dispose-of-the-evidence

If you have not come across UK metallers Morgue Orgy yet, then you have missed out on one scintillating violation of your psyche and person. But it is never too late to catch up on the brutal beatings especially as the Birmingham sextet has just released their debut album The Last Man On Earth, to savage the senses and all for free. Creating a malevolent pestilence of inventive and melodically blackened death metal, the band is one of the rising forces in British metal, a mischievous scourge to tempt the deepest passions. Offered the chance to delve deeper into the mayhem and creative bloodshed, we greedily gathered up questions to feed Carter, Tris, and Ben from the band, subsequently learning about the beginnings of Morgue Orgy, the new album, live exploits, a passion for a certain American punk rock band and much more…

Welcome Gentlemen and many thanks for taking time away from the mayhem and brutality to talk with us.

Tell us about the history of you guys pre- Morgue Orgy through to the early days of the band.

Carter – Gray, Prok, Ben and I were in a thrash/punk horror band before Morgue Orgy. Gray and Prok asked me to join the band in 2000 and Ben joined in 2005. We got a large following in Birmingham, but we only played a handful of shows outside our hometown. The band was a lot of fun, but when our drummer quit in 2007 we decided to start something new. Gray wrote a couple of songs (that would end up as The Black of Hearts and The Arkham Waltz from The River & I EP) and suggested we name the new band Morgue Orgy. Gray used to sing and play bass in the previous band, but he wanted to concentrate solely on vocals with Morgue Orgy, so he asked Tris to join on bass. It took us a year to find a new drummer and when we auditioned Tom we knew immediately he was the man for the job.

What was the spark or intent in the band at the beginning and has that original ‘purpose’ of the band remained the same or evolved over the past five years?

Carter – The main intention for us is to have fun, and I think we’re enjoying being in the band more than ever! When we started Morgue Orgy, we wanted to write heavier music than we’d done before, and just focus on metal, instead of the endless genres (including ska, drum & bass and funk rock) we’d bounce between with our old band. Our sound has definitely evolved as we didn’t really know what we were doing when we wrote The River & I, we were experimenting and learning.

What are the inspirations you have taken into the band musically and lyrically?

Carter – We all listen to a wide spectrum of genres, none of us are metalheads, as such. We are inspired by a lot of different artists, for example Gray takes a lot of influence from rap artists, as he tends to write quickly-bellowed lines with a shit-load of syllables to fit in. Of course we take a lot of inspiration from bands such as At The Gates, Anaal Nathrakh and Dissection, but we also influenced by the likes of Queen, Rancid and Bartok.

Am I right in thinking some of or the band as a whole has a bit of a passion for Bad Religion?

Carter – HAHA yeah they’re fucking awesome! We give free merch to anyone that comes to our gig in a Bad Religion shirt.

Musically you are tagged as melodic death metal but as the new album shows there is much more in your maelstrom of invention Morgue Orgy 1and sound. How would you describe it to newcomers to give the closest representation?

Tris – I don’t think we can tag ourselves specifically as melodic death metal, we end up with all sorts of sub-genres in there but maybe because of ignorance of these ridiculously specific sub-genres on my part I have no idea how to even class it. People seem to think we genre hop a lot and don’t seem to be able to comprehend what they’re listening to sometimes but we’re not exactly Mr Bungle! There’s shouting, d-beats, blast beats, minor bar chords, shredding, keyboard melodies, the odd proggy(ish) bit and if you listen closely enough – I got my bass to sound satisfyingly like the bass tone on the recent Sick of it all re-recordings album! The album is free on our website anyway – download it and make up a genre for it!

Your first pair of EPs The River & I and Murders Most Foul made a potent statement musically for the band and were seemingly greedily received; with your debut album freshly unleashed this month how do look back at them in comparison to The Last Man On Earth?

Carter – We think the River and I is a bit shit now, to be honest. Maybe it’s because they are our oldest songs and we’re bored of them. As I’ve mentioned, the first couple of years for the band was a learning period and there’s a massive difference in quality between The River and I and The Last Man On Earth. I still enjoy Murders Most Foul and I especially love playing 70 Dead and Scared To Death Of My Own Face, I think they’re great songs. Our new album though is much better in my opinion. Each member has improved vastly over the last couple of years and our progress is evident when you listen through our discography.

So how has your sound and presence changed then in the period between your first release and the new album in your eyes/ears?

Tris – We’re still kind of the same band but we’ve improved so much at playing our instruments that we’ve basically ended up a lot faster and heavier. A constant evolution in music taste also plays an effect without you even necessarily realising. We’re all getting back into punk now which I know I haven’t really listened to in a good few years. Just wait for the next album we’re going to end up sounding like the Descendents.

The Last Man On Earth as we mentioned has just been released, an album we said was ‘a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination’. You must be proud of its invention and impact as well as what seems to be a full on soak of acclaim from fans and media alike?

Carter – We are immensely proud of this record. We worked long and hard to create this beast but we never imagined it would be so well received. It has filled us with confidence and justified our direction.

Please give us some insight into the evolution of the album from its first seeds to the final impressive scourge?

Carter – We definitely took our time with putting the album together; the first song that was written for the album was 4 Days, which Tris wrote shortly after recording Murders Most Foul. We used Guitar Pro to demo the riff ideas and would upload them to SoundCloud for the rest of the band to listen and give feedback. Once a song had a rough structure, we’d take that track into the practice room and go from there. We recorded with Ow Davies of Loud Noises Production, who recorded our previous EPs too. We love working with Ow because he gets the most out of us in the studio and he enjoys a good laugh too! He’s got better and better over time and you can hear that on this record, the production quality is outstanding and that is all down to Ow.

1535704_454685597971479_1209997831_nDid the album emerge from the studio exactly how you envisaged going into its recording?

Ben – YES! We had nailed each song from start to finish in the recording studio and as a rhythm section knew exactly how the songs were to sound. The synth/keys were put down later on and tied it together in the way that Carter wanted them to, and it works!

So you are a band which has songs as good as finished before their recording or still prefer to let them develop in the studio?

Carter – The bulk of the songs were fully written before going into the studio, but some vocal deliveries from Gray were altered at times, and he’d improvise recording random noises to add atmosphere/comedy. The sound effects were all put down in the studio once the instruments were tracked. Our guest sax-player, Colin Mills, came in and improvised on Barnum & 399 and the title track, which was fucking awesome. Dunc from Fukpig co-wrote the lyrics for Castle Freak, but we hadn’t heard his vocals for the song until he recorded them.

The Last Man On Earth can be described as psychotic, schizophrenic, and masterfully vicious; three traits you were aiming for or simply the natural emergence of the band’s characters? 😉

Ben – We were all really really angry. Not really! We don’t actually know why our music comes out so brutal. We are all stupid idiots who go out dancing to 90s pop and listen to Bad Religion so why we are even a metal band is beyond any of us. It seems to work though!

You released the album initially as a free download before Christmas, what was the thinking behind the decision and giving what is sure to be a top contender for best of year lists in twelve months so generously away?

Ben – When an audience of people don’t even want to part with £2 for your 5 track EP’s you know you are in a fickle scene. So when that happened several times it was time to think outside the box.

 Carter – Free music is so easily accessible now it seems naive to fight against it. If you can’t beat them, join them. Our main focus during this release is to gain awareness of the band, and charging for the album would have been a limitation.

We also mentioned in our review a mischievous or maybe that should be rascality to the band and the album in our review, this is a major part of your intentions as a band to have fun and grin in the sonic bloodshed?

Tris – Absolutely! Basically we’re a bunch of idiot mates who decided to form a ridiculous metal band with a bit of inspiration from the horror films that we (well actually just Gray) watch. Somehow I think we’ve managed to put that across in our music. People seem to think us pricking about is a gimmick but it’s just what we’re like. We recently released a dildo because we thought it would be funny – If anyone gets irritated and thinks we’re not metal enough for doing so…that is also funny. If you come and see us play a gig we definitely don’t take ourselves too seriously. You’re more likely to see me do squats at 220BPM with a smile plastered on my face than headbang, act like a serious rock star and pretend I’m not enjoying myself.

Tell us about your live shows then and why people need to join the orgy.Morgue Orgy We-play-in-a-band

Carter – Our live shows are all about letting loose and having a good time. We act like idiots on stage and encourage the crowd to do the same. If everyone is smiling by the end of the show, we’re happy.

What has been your stage highlights so far as a band and personally?

Carter – It would have to be playing Bloodstock Festival in 2010, we worked really hard to win the ‘Metal To The Masses’ competition in order to play the festival and the turnout for our set was amazing. I really enjoy playing hometown shows, in front of friends and fans that have watched us for years. We’ve played a couple of really fun gigs in Rugby, Leeds, and Torquay, but I don’t think there are many stand-out shows for me… as long as the audience are enjoying themselves and the sound guy isn’t a prick, I have a great time!

Your bio describes the band as ‘the UK metal scene’s last hope for melodic death metal.’ Do you feel that it is as that suggests on its last legs or maybe it just has not really erupted from a relatively sleepy state?

Ben – We do tend to be one of few bands in this scene who actually think of melody as being important. Perhaps the trend to revolve a song around a beat down has killed off peoples’ brains. We come from the Pantera/Bad Religion/Take That end of the musical scale, where melody is as important as crush!

2014 looks like being a busy and major year for the band, what is next for Morgue Orgy?

Ben – We hope to push our album out to labels and to find a good booking agent to push us further than we could possibly do ourselves.

Once again big thanks for putting aside the bodies for us, any thoughts you would like to leave the listeners contemplating?

Carter – A female bed bug doesn’t have a sexual orifice, so the male has to traumatically inseminate the female by piercing her abdomen with his penis. So if you ever feel depressed remember it could be worse, you could be a female bed bug being fucked in the belly.

Ben – Bad Religion

Morgue Orgy Little-shit-dogAnd finally give us your top five ways in the disposal of bodies.

Now we’re guessing in this scenario you’re assuming we’ve done the killing? Because if you just happen to stumble across a dead body you should probably alert the authorities who can launch a full investigation into what has transpired. Also, we are not actually morticians and couldn’t give you advice on disposal if you are looking to start your own morgue. Again you should alert the professionals who will be able to give you proper advice. But if you’re asking for actual murder tips I suppose we can take a guess but don’t take this as an excuse to start doing it…

Carter – 1. Grind them up and mix them in with the kebab meat 2. Use their bones to make a go-kart and their skin to make a nice coat, throw the rest in the bin 3. Leave them outside a hospital with a note saying ‘for science’. They’ll be grateful for it, honestly 4. Drill them into the sea 5. Package them and label it with any address, Royal Mail will just lose it in the post!

 Ben – 1. Feed them to the ducks 2. Kill them twice 3. Horses 4. Find a keen worm 5. Sit on them until they hatch

 Tris – 1. Drill it over the fence 2. Drill it into the sea 3. Leave it out with the dirty dishes in the kitchen and eventually someone will get annoyed enough to clean it up for you 4. Seal it within a mattress and leave it on the drive for your local council to fail to collect 5. Get Prok to discuss his guitar solos with it and it should get up and leave of its own accord.

Get Morgue Orgy’s debut album The Last Man On Earth @ www.morgueorgy.com and read the review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/13/morgue-orgy-the-last-man-on-earth/

Pete Ringmaster

The RingMaster Review 11/02/2014

Copyright RingMaster: MyFreeCopyright

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

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Morgue Orgy – The Last Man On Earth

    We play in a bandThe Last Man On Earth is one of those malevolent pestilences which rather than run and hide from its toxic virulence you just have to dive head first into the exhaustingly inventive depths of melodic blackened death metal. The debut album from UK metallers Morgue Orgy, it is a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination. It is mischievously psychotic, rampantly schizophrenic, and masterfully vicious and one of the most tempting rages of extreme sonic violations to come from the British Isles in quite a long while.

     Exploding from the darkness in 2008, the sextet from Birmingham has emerged as a tour-de-force at combining a diversity of sound and ingenuity into a melodic death metal proposition as shown by the album which bewitches and savages with equal intensity. Drawing comparisons to the likes of Carcass, The Black Dahlia Murder, Abigail Williams, and Cradle Of Filth whilst sculpting their own unique acclaimed presence, the band has earned a fine and imposing reputation on stage. That encounter has taken Morgue Orgy to a slot at Bloodstock Open Air in 2010 as well as stages appearances alongside the likes of Anaal Nathrakh, Evile, The Rotted and many more. Debut EP, The River & I only enhanced their emergence as did its successor the Murders Most Foul EP which featured guest vocals from Dave Hunt of Anaal Nathrakh. A release just as ripe with riveting and grand neoclassical keyboard seduction and crippling technically sculpted grinds as it is with blackened venom and melodic death corrosion, The Last Man On Earth is the declaration of a band at its imaginative height and fullest merciless malevolence, and you still feel that there is so much more to come from the band ahead.

     Across the album not a moment is wasted, ideas and twists spearing every minute if not second of every song with an adventure TheLastManOnEarthCoveryou can suggest is barely alive in melodic death metal elsewhere. As soon as the opener They Came From Outer Space hits the ear senses and imagination are swiped into action by band and sound. Lively classically bred keys embrace the ears at first whilst a warning buzzer makes a call of impending menace. It is an instant coaxing which suggests numerous possible paths ahead which the album may take without revealing which initially. The gothic breath of the entrance is the predominate lure but one which offers an Adams Family meets Cradle Of Filth like tease before the track  reveals itself fully. That is does with thunder rich rhythms and rampaging riffs stalked by a female spoken narrative. Again it is mere hinting until the song settles into a delicious stomp of tantalising sonic revelry and urgent intensity which in turn soon evolves into a melodramatic gothic waltz. Barely two minutes in and a canvas of multiple textures and hues have been laid to intrigue and disorientate. This is the way of the song, and album from start to finish, and one reason why both are thoroughly riveting. Halfway in and the vocals of Gray, backed by those of keyboardist Carter, savage air and emotions with an expected but again varied and eventful poisonous attack. It is a mighty introduction to the album soon backed up and at times surpassed ahead.

     Both 4 Days and Phantasms of March rampage vehemently across the sense’s landscape, the first a fury of guitar enterprise from Prok and Pence which sears and soars with artistic rabidity and primal savagery whilst the keys pulsate and swoop around the aggressive tempest with melodic rapture and temptation. Like the first and album as a whole, the track is a voracious flow of imagination and hostility which you cannot take all in on one or two listens but rewards intensively for all the extensive time spent in its caustic wrap. The second of the two is a slower bestial incitement at first but cannot not hold back the rapacious energy boiling up within and soon unleashes a rabid assault with guitars creating grooves which finger the passions and a rhythmic barracking from the lethally crisp beats of drummer Tom and the predatory throaty tones of Uncle Holloway’s bass which is instinctively addictive.

     The Last of the Summer’s Wine steps forward next soon diminishing thoughts of old men in childlike escapades with a horde of ferocious riffs and rhythmic bitch slaps which are subsequently aligned with melodic suggestiveness from the keys alongside crazed grooves and a guitar solo which only ignites greater submission for the impressive storm. To be honest it is impossible to describe every dramatic turn and rich bait provided by each song as with this one such the constant imagination and ingenuity of the release but we can reassure that it is something at times bewildering and always scintillating.

     The likes of Barnum & 399 and Castle Freak continue the strong encounter with the same flocking of ideas and intensive rhythmic barbarism, if without quite matching those early pinnacles, whilst splitting their storms is the excellent ruinous swagger of the pestilential 70 Dead pt 2: The Scarecrow of Medan. The track caustically engages and impresses whilst the piano and keys designed instrumental Waiting for the End is a glorious grandiose neoclassical aural painting to take a breath over and allow imagination and thoughts to reflect before the album’s finest moment viciously thrusts its jaws around the jugular.

    The Last Man On Earth (Diary of George) simultaneously is cultured and barbaric, vocals and rhythms merciless predators upon the senses whilst the guitars and keys cast a mesmeric if vitriolic haze over the damage. With a brilliant discord kissed sax wailing over and taunting the carcass of your sanity, the song is a blackened fury with a melodic harpy on its shoulder but one constantly twisting and evolving as it moves towards an expulsion of a riled almost hardcore brawl of vocal scowls and shouts over a punk spurred ferociousness. It is a stunning track and almost leaves the remaining songs an impossible task to follow but IT LURKS BENEATH!!! and Paradise irrepressibly and cantankerously in the case of the first make light work of the challenge.

   Closing on the enjoyable and impressively presented but less commanding In the Smoke of the Green Ghost, though that is again down to the quality elsewhere, The Last Man On Earth is an exceptional album.  There is little to raise up against it, though you suspect some will find it just too intensive and unrelenting in its inventive maelstrom. Released as a free digital free on Christmas Day and getting its official retail release on 13th January, Morgue Orgy may just have delivered the best melodic death metal release of the coming year. It is a tall order to follow for sure for them and the genre.

http://www.morgueorgy.co.uk/

10/10

RingMaster 13/01/2014

Copyright RingMaster: MyFreeCopyright

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Foetal Juice – Big Trouble In Little Vagina

Foetal juice band pic

Savage and ridiculously addictive, Big Trouble In Little Vagina the new EP from UK death metallers Foetal Juice is instant evidence of a brewing vibrant storm within British extreme metal, making the suggestion that it is coming up to a glorious period. The five track release is a full on predator, a fury of insidiously contagious mayhem with an old school heart and breath driven by a modern technical and ravenous craft which rivals and pales releases trying to sculpt wholly new ventures for the genre.

Formed in 2005, the Manchester quartet has already earned and built a strong stature through their previous releases and live performances which has found the band sharing stages with the likes of Kastrated, Ghoul, Cannabis Corpse, Neuroma, Wormrot, Exhumed, Severe Torture, Anaal Nathrakh, Desecration, Prostitute Disfigurement, The Rotted, Slit, Life Denied, Cerebal Bore and many more. Their self-titled EP of 2010 brought firmer attention upon the band but it was the split release A split worse than death via Grindscene Records which really awoke major recognition for the band and their contribution to the release alongside the bands Nailed, Basement Torture Killings, Zombified, and Decimation. Its success and their striking efforts led to the label immediately signing the band up for the creation and release of Big Trouble in Little Vagina, a wise move you realise as its impressive powerful presence consumes the body.

The title track smears the senses in sonic vehemence to start things off, it’s opening breath of barbarous rhythms from drummer Rob 62657062519Harris and the air scorching riffing and sculpting from guitarist Ryan an instant fuse to total attention and the stalking stride and heart of the song. Vocalist Sam Read growls and squalls with guttural irreverence, ensuring lyrical narratives are unavoidable if often unintelligible. It works perfectly and makes a bestial provocateur to the groove licking fire of the sound. With a danger of whiplash to its recipients, though its generally even predatory pace ensures recklessness is absent for the main, and torrential venom to its corrosive invention, the track is a tremendously addictive start to the EP, one soon backed up by its successor.

Brewkakke, a re-recording of their 2012 single, also takes no time to contemplate its actions, riffs striking with ravenous intent from the off and the rhythms whipping splinters of cartilage from the ear with their muscular animosity. Even more primal than its predecessor the track leaves full appreciation the only option before its truculent jaws, the bass of Ben Read even with its less expected reserved sound and savagery a stirring instigator whilst the guitars again make a compelling toxicity which seeps through every pore of senses and imagination to seal the deal. The track is not quite as breath-taking as the first but with greater intensity and cruel dark hearted persuasion it is its equal.

    Semen Evil Smear No Evil is also a re-recorded track, this time taken from their debut EP. Accomplished and ruthlessly efficient in securing the already greedy appetite, the track is a blaze of vitriolic vocals and a mutually venomous guitar ravishing of the senses. There is something missing to place it at the levels of the previous tracks and those to follow, but the song is nevertheless a rampant creative violator which gives satisfaction another healthy dose of pleasure.

The final two tracks Serpents Of The Northern Lights and Service Station Masturbation, do take a grip of greater plateaus, the first through its sheer quarrelsome presence and corrosively absorbing destructive carnality. For most of its annihilatory flight the track storms with plenty to keep expectations employed though it is brought with a craft and violent flair which makes them escape banality. It is the constant twists and flares of adventure which can often slip by such their lack of intrusive intent that bring the assault to greater life and intrigue though for a thrilling result. The closing track takes the top honours on the release, its magnetising grooves and again the excellent mixed vocal scowls a template for lustful thoughts whilst the crippling bombard of outstanding rhythms and the exhaustive invention within the ingenuity of the guitar molestation is a seduction with the guile and rabidity of a pack of wolves.

Foetal Juice on the evidence of the excellent Big Trouble In Little Vagina has all the skills and invention to help take UK extreme metal to the world. It maybe looks away from originality with a sound which reminds of bands such as Gorerotted, Cerebral Bore, and Deicide, but for technical craft and passionate energy not forgetting explosive enterprise, the EP is a majorly promising and thrilling proposition.

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8.5/10

RingMaster 10/10/2013

 

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