Megascavenger – As Dystopia Beckons

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With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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Shadowspawn – Ashes Of Sorrow

Photo- Bo Toftegaard

Maybe it is no surprise the striking and accomplished presence that Ashes Of Sorrow from Danish metallers Shadowspawn makes given the intensive experience of the band’s members, but that cannot only explain the impressively riveting and ferocious exploits of the encounter. Consisting of six tracks which twist and roar with a technical and creative enterprise as persuasive and impacting as the raw aggression and malevolent charm which soaks the imposing tempest, the Horror Pain Gore Death Productions released Ashes Of Sorrow is a debut swiftly earmarking Shadowspawn as one exciting and seriously compelling proposition.

As mentioned the histories of Shadowspawn’s line-up are drenched in experience in the underground metal scene, the band emerging from the union of ex-members of Cinerator and Gods Secret Army late 2012. Aligning all the creative and hostile traits of old school death and thrash metal with a technical expertise and imagination unafraid to taunt melodies and grooves, the quartet swiftly goes for the jugular and psyche with their sound and new album. The accompanying press releases suggests Ashes Of Sorrow is a must for fans of bands such as Asphyx, Benediction, Bolt Thrower, Death, Disincarnate, Entombed, Gorefest, Grave, Napalm Death, Obituary, Sinister, Unleashed, and Vader, a healthy list indeed but quite simply Shadowspawn will appeal to all with a bent for technical hostility and extreme metal bred voracity.

Opener Mind Shut Down instantly smothers ears in an infectious weave of acidic grooves pierced by a similarly impressing bassline, all punctuated further by the vicious demands of the drums. It is a fierce entrance but equally a compelling and inviting one which darkens as soon as the strong guttural vocals savage syllables and senses simultaneously. As the music, vocally the song shows adventure, a cleaner abrasion of voice adding fresh drama and expression to the just as pleasingly volatile and inventive sounds. Unrelenting in its thick snarl and predatory imagination, the track sets the release off in scintillating style, a level as good as matched by Life Is The Way You Die. Its initial coaxing shows a drama and intrigue which alone draws ears and thoughts deep into its impending malice soaked presence. Drums provide a gripping bait from the off too whilst guitars add abrasive toxicity whilst also venturing into a sonic temptation which is as caustic as it is melodically colourful. It does not ultimately have the same irresistible spark as its predecessor but everything about the song bleeds thoughtful provocation and incendiary frontcoverpersuasion as it reinforces the early stature of the release.

Hellavation stalks the listener next; it’s prowling riffs and matching rhythmic predation a controlled but deep rooting trespass into senses and emotions. Vocally another new passage of ideation and strength is forged whilst grooves and riffs collude to create an inescapable infection, given extra spice and majesty by the captivating flight of celestial aiming melodies. The mix of thrash and death metal is a sultry almost torrid but seductive blend on another pinnacle within Ashes Of Sorrow, a peak challenged and surpassed by both Slaves In Delusion and Sins Of The Deceiver. The first of the pair opens with a gut expelled growl and never loosens its intensive examination of the senses thereon in, even with the soothing melodic enterprise and gripping enthralling invention which clads numerous unpredictable turns in the outstanding incitement. The vocals especially impress and excite; another array of deliveries and textures shown to compliment the grind of beats and riffs aligned to tangy grooves and again a progressive, almost spatial endeavour. The second of the two has the imagination hooked from its opening swing of strings and orchestral ambience, the seducing embrace never far away even as the track unleashes its aggressive and rapacious rabidity in sound and character. Shamanic spices and symphonic whispers only add to the whole theatre of the track, a proposal leaving appetite and emotions basking.

The album’s title track brings it to a mightily potent close, a seemingly barren landscape at the start soon the canvas for an epic festival of destructive rhythms, vociferously corrosive vocals, and an epidemic of invigorating and bracing grooves. It all blossoms within a climate of melodic and raw emotional turmoil, creating a tremendous conclusion to an increasingly impressive and persuasive album.

Recorded, mixed, and mastered by Shadowspawn alone, Ashes Of Sorrow stirs up a major appetite and attention for itself and subsequently its creators, a hunger you can only see, on the evidence of this stunning debut, being fed with greater exploits ahead.

Ashes Of Sorrow is available now digitally and on CD via Horror Pain Gore Death Productions @

http://www.shadowspawn.dk/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

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Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Merciless Terror – Vile Extinction

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A venom fuelled rage in the ear which soon makes its way to thoughts and passions, Vile Extinction the debut album from UK thrashers Merciless Terror is a self-perpetuating sonic pestilence which leaves a certain hunger for the band and their sounds ahead whilst making one striking and synapse wasting confrontation in the now. Like so many releases around it is not stalking new fields of invention for thrash metal or preying on the senses with undiscovered inventive maliciousness but it comes with an attitude and creative freshness which sets the album apart from most of its contemporaries.

The Nottingham quartet formed in 2009 using the inspirations of the likes of Slayer, Malevolent Creation, early Sepultura, and Bolt Thrower to fire up their imagination and invention. Their sound creates a magnetic maelstrom of thrash and death metal which from its first touch takes a firm grip on attention and over numerous excursions through its vitriolic presence, as shown with Vile Extinction, ingrains itself for stronger reactions. Theirs is a sound which consumes and crushes with a torrent of riff rabidity and rhythmic destructiveness but one which is unafraid to venture through more imaginative and violently enterprising scenery than most. From their acclaimed first EP Perpetual Devastation in 2011, the band despite several line-up changes has cemented and stretched their opening recognition through their live performances which has seen Merciless Terror aurally terrorising fans across the UK, Europe, Japan, and Scandinavia whilst playing alongside bands such as Bolt Thrower, Benediction, Malevolent Creation, Bonded By Blood, Desecration, Cerebral Bore and many more, and with their Eternal Decay EP of last year. Now the foursome of vocalist Dale Linsdell, guitarist Luke Tasker, drummer Michael Brush, and bassist Dan Oldcorn take it up many levels with the Devils Clause Records released Vile Extinction.

Opening atmospheric instrumental Omnicide 00.00 sets up the premise and theme of the album, “The damnation of humanity, the Front Cover 300imminent fate that will consume us all and lead the remnants of civilization to fight for survival, the result of mankind’s own doing by unnecessary wars because of religion, over harvesting, over spawning like a cancerous infection upon the earth and depleting the world’s life force.” It is an ominous if slightly underwhelming menace which is soon trampled beneath the rapacious entrance of Doctrine Of Malevolence, the track and vocals roaring with guttural animosity from its opening breath. Grooved riffery scorches the air whilst the drums provide a tsunami of breath stealing intensity and violence, and with the vocal squalling buffeting the senses whilst the sonic enterprise singes synapses like a shower of hot coals, it is a scintillating assassination of the thoughts and resistance.

From the tremendous start things only become more intensive and sonically carnivorous as firstly Circle Of Contempt rampages with a bestial craving to its rhythms and the inventive assault of guitar alongside bass rabidity to be swiftly followed by the unbridled predation of Enraptured. Merciless and loaded with a hunger rhythmically and sonically that simultaneously suffocates whilst tearing strips from the senses with its acidic toxicity and virulent intensity, the track is one of many distinct pinnacles upon the album with a vocal ferocity which simply dares you to disagree.

Both the outstanding ravenously addictive Baptized In Blood and the pulverising assault of Hateful Abomination brings blood and appetite to the boil, vocals and rhythms as potently vindictive and destructive as at any point on the album drawing an instinctive rapture which is lustful in its submission. The band continues to unleash a thrilling torrent of mouthwatering corrosive thrash cored violence through the adrenaline raising Process Of Eradication where the guitars sculpt a web of riffs and grooves which triggers greed drenched ardour and the exhausting World Desolation where nagging swarming riffs and equally addictive grooves prowl and hunt the senses as the rhythms cage their prey in sinew clad insistence before a sonic fire of a solo brings the heart of the song to the fore as another sumptuous tempest of annihilation reaps havoc.

From next up Imminent Death, a sub two minute intensive brawl on the senses, the album unveils evocative instrumental Dystopic Visions which though arguably for personal tastes is positioned wrongly in the track line-up for the best effect is an enthralling colour drenched melodic slice of creative beauty. It does bring the senses time to settle and relish the upcoming closing storm Existence Denied. The track has a more restrained launch at the ears but is soon thundering through their doorways to gnaw upon the senses whilst employing and crafting constant twists and enriching flavours for what is possibly the strongest and most inventive song on the album, if not ultimately the favourite. It concludes in Vile Extinction, an album of aggressive deeply satisfying thrash metal. It is not rippling with originality or threatening new avenues for the genre but Merciless Terror instead make it a confrontation with a balance of passion and ruinous intent which is extraordinarily skilled and exciting.

www.facebook.com/MercilessTerror

8.5/10

RingMaster 10/10/2013

Copyright RingMaster: MyFreeCopyright

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Losing Skin – I: Infinite Death

LS Band Photo 2

Entangling and enthralling the listener in a tempest of vitriolic sound and equally vicious lyrically intent, I: Infinite Death from US hardcore protagonists Losing Skin is one of those albums which cuts off any escape from its creative malevolence and skilful violation by veining its fury with voracious hooks and barbed grooves. Insatiable traps for the senses within the corrosive spite and riffing of the songs, it all adds up for a release which chews up and spits out the listener whilst leaving them cursing the day that such rewarding and ravenous sounds put a new shade on extreme music with claws that demand and command.

Formed in 2009 and consisting of current and ex members of bands such as Behold and Whalelimb, Losing Skin has savagely attacked the senses from day one. Employing inspirations from the likes of Slayer, Benediction, and Grave into their lethal fusion of metal and hardcore, the Spokane, Washington quartet has earned a formidable reputation through their previous releases and live performances which the new release can only entrench deeper and further afield. Released via Blasphemour Records, the release is a seventeen track scourge bringing the 2012 released album into union with the band’s debut EP Old Wounds of 2011. It is a powerful and potent rampage with evokes and provokes reactions from thoughts and emotions whilst treating the ear to some of the most pleasing sonic acridity known to man.

The release opens with Torn Asunder, an instrumental scene setter with industrial menace within a stark yet only slightly intimidating Cover Artatmosphere. As its last comment passes Black Celebration surges through the ear with the vocals of Alex Boston searing the hairs on the surface of the ear with a malice dripping attack within a heated charge of fiery riffs and cagey rhythms, though they soon turn nastier to command the senses as the track burns deeper and with more intensity. It is an impacting start especially with the underlying compelling groove, which hands over the sonic baton to The Man Who Fell to Earth. With attention and appetite firmly enslaved by its predecessor the song stalks and crawls around its recipient with a dark groove and rapacious riffs flying the harsh colours of the vocals to contagiously light up a new depth of hunger for what is on offer.

Through the likes of the uncompromising almost psychotic Destroyer’s Crown, the hostile Neverender with its cynical breath and severe touch, and the caustic storm that is Time Crawling By Me, the album continues to impress and leave breath a stranger to lungs. The trio do not quite live up to the start to be fair but still tick all the right boxes and lick all the perfect wants to keep the hunger for their creative rancour high. They are split by the instrumental title track which does bring a dip in proceedings though only because it feels out of place. A continuation of the opening track and obviously the underbelly theme of the album it does not evoke the imagination and ideas as successfully as it possibly would have if the opening or closing piece of a release. Where it is it just feels like an obstacle to move over swiftly to get to the meaty goods.

Tides of Acheron offers no such issues when it is its turn to gnaw and bruise the senses. The best track on the album it is a blaze of persistent niggling grooves and rapaciously prowling melodic and sonic animosity which just ignites rapture for its ferocious enterprise and insatiable destructive rabidity.  Continually shifting its attack and offering an unpredictable gait which leads the emotions down various avenues, all carnivorous and all gloriously uncivil, the track is immense and holds the senses captive for the rest of the album to devour.

     From Eternal Return, another creative inspiration to visions and interpretation helping to bookend the album part of the release, the tracks from Old Wounds make their play on the ear, Iron Rain immediately scoring flesh with a metal sinew clad scowl and the likes of the excellent and riveting Iron Reign, the tantalising My Mind is a Steel Trap with its near on seductive grooves and wanton riffing, and the predacious I Am Ruin with a thrilling throaty lure to the bass and rhythmic enticement bringing further mountainous highlights to the already excellent release.

The punk ferocity of Nails and the striking closer The Mirror Reflects which returns after a long break as a darker harsher raw interpretation of its original self on the track, complete I: Infinite Death, closing off an outstanding and exciting corruption of peace with malicious craft and powerful invention. Losing Skin is a band which leaves no one safe from their irresistible sonic annihilations masked as songs so beware and enjoy.

https://www.facebook.com/losingskin

8/10

RingMaster 20/08/2013

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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