Old school in breeding but stoked by a creative voracity which roars with modern hostility, Cemetery of the Insane, the debut EP from Belgian death metallers Carnation is an introduction all fans of extreme metal will want a slice of. Consisting of six tracks which savage the senses and ignite the imagination, the release has every essential death metal essence in compelling abundance, but twisting them into its own not dramatically original but certainly refreshingly inventive designs. The result is a bestial onslaught to fearfully embrace and greedily devour.
With a name seemingly inspired by The Carnation Massacre, a mass murder occurring on December 24th 2007 near Carnation, Washington, the Heist-op-den-Berg band was formed in 2013 by guitarist Jonathan Verstrepen (Incinerate). Swiftly bringing in bassist Yarne Heylen (Decross), guitarist Bert Vervoort (ex-Decross), vocalist Simon Duson (Prematory), and drummer Morbid (The Reckoning), Carnation set about their intent of bringing old school death to the Belgian metal landscape. Embracing both Swedish and US influences, as merged impressively on Cemetery of the Insane, the band has stepped forward on its back as one new and exciting proposition in not only the Belgian but European extreme metal scene.
The release opens in the dank cellars of Explosive Cadavers, flesh and bone being quietly but openly devoured before the song, with cinematic might, reveals its portentous drama. Once the scene is set, guitars snarl and descend on the senses with instantly contagious and addictive riffery, bait matched potently by the grizzled might of the bass and the sonic grooving holding ears. The track swings along but has greater intimidation and hostility waiting in its air, a threat which frees its restraints for a nastier twist in the nature of the song before entwining both for the rest of the encounter. It is a scintillating start, the excellent vocals of Duson as guttural and insidious as you would wish yet with a quality allowing clarity to the narrative, whilst the venomous rhythms of Morbid take no prisoners whilst casting their anthemic baiting. Similarly the sonic enterprise of the guitars is as invitational as it is corrosive, everything aligning for one virulent insidious persuasion.
The EPs title track is swiftly at the jugular next, Cemetery Of The Insane rampaging with hostile fervour yet also instilling a predatory prowl within its tempestuous walls. The song stalks 
and seduces the senses with the strong mix of vocals and guitars continuing to impress with just as instinctively barbarous invention. Further lust is dragged from song and appetite by the throaty bass growl and already by this point it is hard not to be enslaved by song and release, especially once the tendrils of sonic colour and the increasingly insatiable torrent of sharp grooves and bruising riffs add their persuasive weight to the temptation.
Both Rituals Of Flesh and Delusions Of Power keep the impressive intensive provocation soaked in venomous and gripping animosity, the first of the two managing to be nastier than those before in touch and sound yet just as imposingly infectious and inventively magnetic. The track almost dances with its rhythmic rabidity and destructive tendencies, revelling in its bloodlust and sonic nagging whilst sculpting a pinnacle for the release. Its successor without quite matching its toxic majesty has its own blistering sonic tapestry of raw riffs, spiky grooves, and bass predation to share, resulting in another seriously enthralling and incendiary ravaging to thoroughly enjoy.
The Great Deceiver closes things off; it’s more restrained and sonically colourful entrance the scenery to oppressing shadows and subsequently, a torrent of abrasing riffs and searing melodic endeavour. As the excellent final foraging of ears and psyche shows, though tracks may not surprise with knee buckling effect there is a great unpredictable trait to them which keeps the listener intrigued and unsure of what is on the encounter’s near horizon.
Definitely a must for all with a taste for the likes of Entombed, Dismember, Gorguts, Autopsy, and Entrails amongst many, Cemetery Of The Insane should be heading all must check out lists.
Cemetery Of The Insane will be available through Final Gate Records digitally and on CD/vinyl from February 6th via https://finalgaterecords.bandcamp.com
https://www.facebook.com/CarnationBE
RingMaster 05/02/2015
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even greater malevolence through the dark tones of Marc van Stiphout’s bass and the increasingly vindictive swipes of Marco Stubbe, the track proceeds to ravish and seduce the senses and imagination respectively. Grooves nag and thrill throughout as the sonic invention of Jos van den Brand and Damen persistently entangle thoughts and song. It is a great start with nastiness to its breath which is just as rich in the following Carved to Pieces, an openly contagious and irritable proposition. Grooves again steal attention and passions, veining the inhospitable climate and intensity of the thrilling offering for an irresistible persuasion.
knees. It also comes with a passions binding groove which from its first breath grinds and worms deeply into the psyche as rhythms cascade voraciously down on the senses. Complete with the barbarous rancor of Hadden’s throat and the nagging contempt of the bass, it is an irresistible blast of insidious feuding which ignites appetite and passions just as forcibly as the album itself.
growls out the lyrics. Sex Pistols like hooks also sears the oppressively raw encounter, adding to the instantly contagious lure of the song. It is a tremendous start, especially with a great expulsion of guitar enterprise towards its conclusion, which leaves the next up Eyes Red And White in its wake. To be fair the track flies at the jugular with jaws clenched ready to rip out the throat of the senses for another riveting and blistering thrill but it is unfortunate to be sandwiched between the strong starter and the excellent Seeing Scars. At even at this point assumptions are set for the feel and voice of the album which the third song pleasingly confirms with its caustic graze of sonic hostility, vocal maliciousness, and rhythmic predation.
has emerged as their most ferocious and destructive triumph to date. Again out through Dark Descent and featuring guest appearances from the likes of Chris Reifert and Eric Cutler of Autopsy as well as Kam Lee (Massacre, Death and Bone Gnawer), Death Curse is a masterful protagonist of the senses from the exceptional artwork provided by Christopher Moyen (Incantation, Blasphemy)to its last lingering venomous note. Though the introductory opener Gates of Hell does not show the storm to come, its epically sinister portent of sonic certainly brings an intimidation to bear on the senses, a brewing threat soon realised with the explosive entrance of the title track, riffs and rhythms a merciless rampage whilst the coarse even rawer vocals scar air and ears. Eager in its thrash driven gait and acidic in the eruptions of sonic enterprise, the track is a magnetic encounter which maybe does not trigger an immediate hunger but with good variation to the vocals and a resistance proof groove certainly has full control of attention.
