Primal Age – A Silent Wound


Four years after their 3 way split with Mostomalta and Cherish on Deadlight Entertainment, French outfit Primal Age return with a new EP again through the Foix based label. A Silent Wound is a caustic roar of the band’s hardcore infested metal giving evidence that the time between releases has been spent bringing a fresh air and touch as well as malice to their invasive sound.

Given in tribute to Mika “Bleu” Adjennian who passed away last summer, the manager at Customcore Records who remained a close friend after the label released the band’s album A Hell Romance in 2007, A Silent Wound opens up with The Whistleblowers VS World Health Organization. From the first rally of drum enticement, the track explodes into a furious surge of riffs and bone rapping beats, their animosity echoed in vocal growls and the raging heart of the song itself. The incessant pressure and assault of the track is a viciously compelling infection, the senses blasted emotionally and physically as the band pull no punches with their scathing political/social outpouring. Fusing thrash and classic metal elements with raw punk ferocity, the track is an exhausting, almost crippling onslaught and quite exhilarating.

ep-cover_RingMasterReviewThe EP’s title track steps forward next, its charge less vicious energy wise but a still as imposing and predatory trespass of the senses as its predecessor. Featuring Felipe Chehuan from Brazil metalcore outfit Confronto, the tempest careers across the senses like a violent tango, hardcore animosity and rigour surrounding metal bred grooves and riffs. Already appetite for the encounter is becoming greedy and only urged on by the almost tribalistic, certainly rhythmically, Counterfeiters of the Science. With thrash bred riffs and wiry grooves entangling rampant rhythms and listener alike, things are swiftly and uncompromisingly catchy and increasingly antagonistic. Another buffeting of the senses ensues, one hungrily welcomed especially as the song twists and turns through a web of swinging beats, grumbling basslines, and vocal incitement as the rousing defiant soaked encounter challenges the opener for best track honours.

The EP is completed by To Jeff, a tribute to Slayer guitarist Jeff Hanneman featuring a medley of the thrasher’s songs. Primal Age are aided by guests in vocalists Julien Truchan of Benighted and Hiroyuki ‘Koba’ Kobayashi from Loyal To The Grave and offer a fine homage to the man and pleasure for the ears.

What comes next from Primal Age metal and hardcore fans will eagerly await especially as A Silent Wound suggests it will be something to savour as itself is.

A Silent Wound is out March 3rd through Deadlight Entertainment @

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Affliction Gate – Dying Alone

AG_RingMaster Review

Three and a half years after unleashing the Shattered Ante Mortem Illusions EP, French death metallers Affliction Gate return with their most evil and gripping offering yet in the ruinous shape of Dying Alone. The four-track EP is a brutal and ravenous affair, but equally a compelling and at times contagious violation of old school death metal expanded with Affliction Gate imagination. The band is as vicious and uncompromising as ever but to that expected proposition adding a new exploration of bold textures, insidious emotion, and raw sonic trespasses.

Formed in 2006 with inspirations from the likes of Unleashed, Massacre, Bolt Thrower, and Asphyx sparking their ideas, Affliction Gate began proving themselves a formidable and potent force in the French metal underground with their first EP Severance (Dead to This World) in 2008 and more potently debut album Aeon of Nox (From Darkness Comes Liberation) a year later. Its release saw the band share their live presence across and beyond France into countries such as Germany, Spain, Holland, and Belgium, whilst the list of bands sharing stages with the quintet have come to include Pentacle, Mercyless, Svart Crown, Loudblast, Benighted and many more. Shattered Ante Mortem Illusions was an acclaimed proposition upon it’s uncaging in 2012 but already is being eclipsed by the response to Dying Alone.

artwork_RingMaster Review   Negative Lucidity leaps at the senses from its first breath; the opener a torrent of barbarous rhythms and toxic riffery twisted into a nagging groove that instantly has ears and appetite alert. The raw, bestial tones of vocalist Herostratos quickly lead the track’s animus of sound and intent, his intrusive delivery backed by the throaty threat of bass and entwined in the sonic trespass of guitar. Melancholy clings to the sonic suggestiveness expelled whilst despair clouds the air of the heavily satisfying incitement, those essences and hues just as rich and expressive in the following pestilential assault of Devising Our Own Chains. As its predecessor, the encounter is a challenging yet openly catchy violation bounding into the psyche on boisterously intrusive rhythms as guitars spin an acidic and virulent tapestry of rancorous bewitchment.

The EP’s title track comes next, flirting with the senses as it crawls closer and closer with cancerous intent. Led by the cantankerous tone of bass, the song subsequently grows into more volatile and eager infectiousness but still keeping its murderous breath and nature to the fore as its energy ebbs and flows in a consumption of the senses. Again a host of flavours collude within the song, more classic hues adding to the death bred malignancy.

The EP concludes with the misanthropic Manicheism Inertia, bad blood and rabid sound fuelling the contemptuous body and soul of the aural ravishing. The first two tracks within Dying Alone steal the show in many ways yet, as the song before, Manicheism Inertia has a nasty grandeur and incessant rabidity to its design which simply hits the spot.

Enjoyable on first listens and only growing to bigger success over time, Dying Alone is evidence that Affliction Gate is one of old school death metal’s emerging triumphs. Their new EP sees the band hit new heights, or should that be low corrosive depths, to get extreme metal off to a seriously strong start in 2016.

The Dying Alone EP is out now via Transcending Obscurity @

Pete RingMaster 06/01/2016

Copyright RingMaster: MyFreeCopyright

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Fleshdoll – Feeding The Pigs

Fleshdoll pic

If you like your death metal voraciously brutal and old school bred but with the balls to twist that template to its own devious ends, oh also with a tongue firmly in someone’s cheek at times, then Feeding The Pigs from French metallers Fleshdoll is one recommendation to definitely check up on. The third album from the Toulouse quintet is not a proposition sculpting something new or scarcely trodden before but for uncompromising yet mischievously adventurous extreme hostility, it is a thoroughly contagious and satisfyingly exhausting protagonist.

Formed in 2001, it was the band’s debut album [w.o.a.r.g] five years later which really awoke the French underground metal scene to the arising presence and force of Fleshdoll. Released via French label Thundering Records/Manitou Music, the album was well- received and lauded as the band spent their energies playing show after show on the way sharing stages with the likes of Svart Crown, END, Blockheads, and Zubrowska. In 2006 Fleshdoll became the first death metal band to play in Casablanca, bringing their raw spice to the Moroccan scene treading in the line set already by Kreator and Moonspell. The following year second album Animal Factory is uncaged and again the band is garnered in acclaim and attention as they take it on the road, playing with bands such as Malevolent Creation and Loudblast. A line-up change stepped up next before Fleshdoll stepped into the studio with Gorod drummer Samuel Santiago to record Feeding The Pigs. Its triumph has thrust the band into another soaking of eager plaudits and focus, a new spotlight enhanced already this year as they went on tour across France with Loudblast and Benighted, Europe with Resurrection and Cremation, and before that Japan with Vomitory, Beyond Creation, and Defeated Sanity.

The album launches at the listener with its title track, an instantly vicious and ridiculously compelling maelstrom of annihilatory rhythms, Fleshdoll coverguitar violations, and vocal predation. Into that delicious hellish mix sharp and short acid spewing grooves infest the psyche to further spawn eager rapture. It is an immediate enslavement as the rhythms settle into a controlled prowl whilst still making the most intensive demands and threats alongside a devilish swagger which drives the vocals and guitar enterprise. It is an extraordinary track, one as suggested in regard to the album, not necessarily breaking boundaries but certainly caging the essence of the genre in a virulently infectious and explosively incendiary design.

The opener is such a stunning song that certainly for a while the album struggles to match up to its strengths and toxicity though right away both Collateral Murder and A Feast For The Rats give very worthy shots. The first of the two virtually stalks down senses and imagination, its bestial provocation sizing up and crawling all over the ears and emotions whilst rhythms juggle skilfully with their bait whilst the guitars in league with the bass swarm over the listener in horde like fashion but with enough sonic endeavour and creative invention to cast a constantly intriguing premise. Its successor sits back on the tail of urgency initially before twisting its gait and body through persistently changing and unpredictable turns of direction and pace. It also is loaded with impressive craft from guitars and brutality from Santiago but like its predecessor lacks the explosive spark of the first song as well as the vaunt and open smile. Nevertheless the pair healthily feed an already greedy want from the album bred by the title track as too does the following song, The Wolf.

The album’s fourth song lives up to whatever the imagination can conjure for the song name, its vocal roars and the unrelenting jaws of the riffs worrying and tearing at the senses whilst the heavy paws of the bass and crippling swipes of the drums only compound the mouthwatering attack. Spiteful grooves latch onto the charge of the song soon after before its body switches between prowls and all out assaults again and again ensuring expectations have nothing to latch on to and full attention is taken on a feisty captivating ride. The track gets closer to bridging the gap between the starting pinnacle and the rest of the album especially with its fiery hues of the guitar and solos.

Dead Monochrome is a demonic pestilential fury which sears and consumes from its first malevolent breath, a dark venomous scourge complete with deceitful melodic tempting and addiction sculpting grooves which offer respite knowing the rest of the ruinous intent of the protagonist will suffocate any hope. From this point in many ways the album goes through a slight evolution starting with the sinister breathing instrumental The Hollow Men. It is not a big twist in the premise of the release more a stronger investigation of the melodic and adventurous hints shown in A Feast For The Rats but it does bring a slight movement from animalistic intensity to inventive exploration. The Shadow Of A Man right away certainly shows no signs of diminishing its carnivorous appetite, riffs and rhythms uniting for a tunnel of grievous chastisement, but that is subsequently joined by a flood of melodically seeded flumes. As its mass continues to fill ears, the song brings in a rhythmic enticement which in turn moves into an oppressive swamp within which acid running veins expel sonic tempting.

The pair of Ecstatic Random Carnage and King Of Patusan more dramatically bring something distinctly new to the tortuous fun, the first wrapping its savage and imposing weight around the senses before unveiling a weave of furnace bred melodies and psychotic patterns around the gutturally spawned vocals. Imagination is lit right away but given a greater thrill as the song sweeps into a heavyweight passage of invention which is jazzy in its colour and funky in its energy before returning to a keen ravaging of ears and beyond. The second is technical/progressive flavoured metal imagination within a severe and tempestuous domain and again as the previous song easily seduces thoughts, both songs stepping forward to not equal but definitely rival the first peak in the album.

Completed by the excellent North Sentinel Island, an absorbing encounter which can be onerous at one moment and within a single lung’s expulsion seduce with entrancing ambience and beauty, Feeding The Pigs is a thoroughly satisfying and enjoyable intrusion. Certainly Fleshdoll can be compared in varying degrees to the likes of Cannibal Corpse, Napalm Death, Carcass, Bolt Thrower, and Kreator as a reason to check out their album but it shows that the French band is working on forging their own unique path and it is coming along very nicely.

Feeding The Pigs is available via Great Dane Records now!


RingMaster 23/05/2014

Copyright RingMaster: MyFreeCopyright

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Voice Of Ruin – Morning Wood


When a band’s bio starts with, “Voice of Ruin was born in 2008, driven by the common desire of five Swiss farmers who dreamt of leaving the family farm and becoming rock stars. Hungry for success and recognition, the five strapping young lads abandoned their shovels and harvesters to take on a different type of instruments, with the goal of becoming icons of sex, alcohol and rock ’n’ roll (or horny famer metal),” you cannot help offering it highly intrigued attention whilst also making inevitable assumptions. As shown by their new album Morning Wood though, the band whether by design or just by natural instinct do not realise the complete tongue in cheek encounter imagined. Certainly lyrically the songs upon the release come with a humorous swagger and intent bred from their ‘background’ but musically what you get is highly accomplished and passionate, not forgetting inventive metal. Like a mix of Lamb Of God, Sylosis, and The Black Dahlia Murder with plenty of extra additives, sound and album captures senses and imagination from start to finish. Admittedly severely original moments are as scarce as udders on a bull but it cannot stop Voice Of Ruin from providing a rigorously enjoyable onslaught.

Plucking relevant info from their farmyard history, Voice Of Ruin first made a mark with their debut EP The Crash in 2009 to be followed to greater acclaim by their self-titled album two years later. Its success led to the band breaking out into Europe with album and their live presence, countries like France, Russia, and Ukraine overwhelmed as the band’s homeland by their ‘Horny Farmer Metal’. Going onto share stages with such bands as Caliban, The Black Dahlia Murder, Entombed, Textures, Tankard, Sylosis, God Dethroned, Benighted, Dew Scented, Sybreed, Do Or Die, Breakdown Of Sanity and many more, the Nyon hailing band now uncages Morning Wood to take another step in cornering the worlds metallic dairy market.

Welcome To The Stud Farm makes an intriguing and impressive entrance to the album, guitars casting a web of sonic enterprise and voice_of_ruin_morning_woodenticement around crisp rhythms and a throaty bass lure. Its presence and energy intensifies deepens into its minute and a half as it feeds the imagination a colourful and magnetic bait leading to the following Party Hard. The second track launches itself with a roar from Randy Bull exploding within rampant rhythms, a torrent of riffs, and another immediate weave of temping scorched melodic endeavour crafted by guitarists Nils Bag and Tony Cock. It is a fiery proposition, nothing startlingly dramatic but potently gripping and skilfully unleashed.

The strong beginning continues just as pungently through both Through The Eyes Of Machete and Day Of Rage, the first delivering a coarse battering of rhythms from drummer Oli Dick and antagonistic riffery veined by acidic grooves. The track almost spirals around the senses with its excellent guitar play whilst the bass of Erwin Van Fox stalks with a dark resonance. The encounter is another elevation in the release but it is the glorious unveiling of clean vocals cast by Van Fox within a more reserved passage which steals the strongest satisfaction and shows the potency of the songwriting and invention within the band. Its successor is a natural predator; from its first gnaw of riffs and the toxic breath which covers air and the varied squalling vocals a bestial yet resourcefully sculpted scavenger. It is an unrelenting incitement which ravages senses and emotions for another pleasing assault, the twisted grooves and the simple voracious urgency of the track irresistible.

The unbridled ferocity of The Rise Of Nothing consumes ears next, its intensive pressuring from the first second led by a superb carnivorous bass stalking and vindictive rhythms whilst its core canvas is a breeding ground for heavy metal colour and virulently tempting hues painted and sent soaring by the excellent guitar work. As mentioned earlier there are few times that the sound and songs throw you a curve ball in originality but it has to be said and epitomised by this track alone, that working its alchemy under the surface of songs is a bewitching flow of dramatic invention and contagious unpredictability, it is just you have to work to see it as openly as it deserves.

Both the title track and its successor Viols Désinvoltes provide thoughts and pleasure with further captivating adventures, the first at certain moments wrapping its uncompromising aggression and serpentine hostility with absorbing flumes of clean vocals which takes the track from a strong if expectations feeding level to something of a pinnacle on the album. It is not the vocals alone which make the difference though, piercing and technically thrilling invention equally effective as it spills out from the tempest to great success as the track leads into the second of the pair. The most anthemic track on the release, and the most hostile with its industrially kissed fury, the new song is pure sonic rancor framed by equally adverse rhythms and vocals; raw metal moonshine of the most toxic potency.

   The following Cock’n Bulls and the instrumental Today Will End descend with their own inhospitable bodies next, both belligerently intrusive and appealing. The first infusing a southern twang and groove to its admittedly increasing persuasive torrents and the second emerging from a black hearted storm with deliberate winds of sonic painting and reserved but still unstoppable intensity. In many ways neither matches earlier triumphs but do reveal more of the scope and skills of the songwriting and band whilst providing further variety to the almost pestilential attack overall of the album.

The trio of the salaciously jaundiced Sex For Free, the severely bruising Big Dick, and the closing creative storm that is Dirty bring the truculent album to a senses wasting close; the first of the three with its poisonous melodies and barbarous rhythms the most contagious and exciting of the closing stretch. Morning Wood is a thoroughly enjoyable ravaging even if one which keeps well within the walls of existing designs and when it does offer undoubted invention and mouthwatering ingenuity leaves it under a thick wash of almost uniformal surface rapaciousness. It means you have to work to discover the elements which set the band apart more than imagined but those rewards are full and impressive. So forget the image and gimmicks behind the sounds if new to the band just indulge in one very healthy and mischievous slab of bovine strong metal.

Morning Wood is available digitally and on CD now via Tenacity Music.


RingMaster 06/05/2014

Copyright RingMaster: MyFreeCopyright

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Infected Society/F is for Fuck You/Miserable Failure – Miserable Fucking Society Split


If you ask us, and I know you were going to, there are simply not enough compilations and spilt releases around these days to highlight and thrust upon the world the wealth of emerging talent out there. Luckily the seemingly can do little wrong at the moment Kaotoxin Records has the same mentality as they shove the Miserable Fucking Society Split release firmly down our throats with clenched passionate fists. Consisting of nineteen hate spewing tracks from three talented and angry French grindcore talents in the vitriolic shapes of Infected Society, F is for Fuck You, and Miserable Failure, the EP or should that be album, is a raging torrent of hardcore antagonism and grindcore brutality with a core of metallic vengeance. It leaves body and thoughts exhausted and passions riled through a trio of bands which maybe you will end up with a favourite from but all will leave a lingering welcome brand on the psyche.

First up is Infected Society with seven acts of barbarous intent. Formed by guitarist Fack (ex-Yyrkoon, ex-Drowning, ex-Decline Of infected societyHumanity, ex-Burgul Torkhaïn, ex-Ashura) and vocalist Brédin (Decline Of Humanity, ex-DSK, ex-Tridus Elasticus, ex-Altered Beast) in 2010, the band has already impressed and set out a formidable stature with the also Kaotoxin released Get Infected EP of last year and another spilt, Snuff Fetish Infection earlier in this. Their contribution to this release is as uncompromising as ever and arguably their most vicious and corrosive presentation yet. From the opener Old-School Traditional Butchery, the title telling you all you need to know, the band let rip a furious creative maelstrom which buckles knees and has synapses weeping. The first song is a torrential shower of crippling rhythms and devastating riffs speared by flesh failing sonic malice and grinding grooves which strip layers and skin from the senses. With an equally malicious dual vocal attack it is a mouthwatering blood curdling introduction which only is a portent of what is to come.

Both Definitely-Dead and Ultimate Slavery savage the already set in wounds with greater venom and predation, their notes and aggression pack like and just as vicious, yet especially in the second incitement there is a distraction from the carnivorous assault of irresistible grooves and hooks, though venom always wins out. This is in full evidence with the just plain ferocious Mentally Derange and the intensive pestilence that is Crack-Whores. Addictive and magnetic the second of the two is a major highlight of the album though surpassed, after the more than ok but underwhelming in comparison Life Eraser, by the excellent Raw Quad Orgy. Led in by thumping beats, and it has to be said that the drum and bass work on the tracks is exceptional, the track explodes into a tempest of abrasive ferociousness and rhythmic battering veined with grooves and virulently barbed lures which remind of Coilguns and Kunz at times. The most inventive and exploratory of their songs it is a stunning conclusion to their part of the split.

F is for Fuck You    Next band up is F Stands For Fuck You, and it has to be said the band right away kidnapped the passions and emerged as our clear favourites on the release. Making their recording debut on Miserable Fucking Society Split, the St-Etienne trio of drummer Kevin Foley (Sepultura, Benighted, Nervecell, Mumakil, The Seven Gates), vocalist Adrien Guérin (Benighted), and guitarist Alexis Lieu bring an inventive and scintillating breath to a central grindcore heart. From the growled squall of vocals marking the start of Zero, the song twists and writhes with imagination and lethally infectious hooks and grooves driven by excellent rhythmic enterprise and skill of Foley. The track ignites a ‘light-bulb’ in the passions almost instantly and has them celebrating something fresh and magnetically compelling. Thrusting waspish grinning grooves through the ear from the start before roughing up the same victims with bruising intensity and desire, Sound Of Nothing continues the impressive offering from the band  before both Fit and the sensationally riveting metal cored The Dead Men stomp and rampage on a swollen appetite with further furies of creative ingenuity and lung sucking energy. Debatably more hardcore than grindcore for these tastes with the band reminding at times of Irish bands Gacys Threads and Lantern For A Gale, both tracks set up a greater hunger which is immediately satisfied by the best song on the whole release.

     Fuck Off is pure sonic and anthemic alchemy, making its initial persuasion as a brawling hardcore bred outrage before with a drop of its shoulder slipping into a virulently contagious dance of hypnotic devilry and sonic festivities. Already in control of the emotions the track then invites in a southern Pantera and stoner like blaze of seduction to run off smiling broadly with the passions. Easily one of the best songs heard this year it is one of those tracks which marks a band as a keeper.

With their offering completed by Firesky and The Bombing, two more songs that only impress with their raw and rapacious creative rabidity, F Stands For Fuck You declares themselves as one of the most thrilling and promising bands to emerge this year anywhere.

Made up of vocalist Bleu, guitarist/vocalist Rom Sanchez, bassist John Culbuto, and drummer Elvis Jagger Abdul Jabbar, Miserable Failure doMiserable Failure not worry about making gentle introductions, well gentle anything as their five slices of rabid violence soon show. The Marseille quartet is pure anger and vitriol which pours uncontrollable from their first track Summoning Chaos right through to the last. The song opens with a menacing spoken vocal upon a slowly dawning ambience though it has no time to take hold as the band expose a heavy handed oppressive breath and launch into two minutes of unbridled sonic and vocal animosity. It is a nasty destructive confrontation which leaves senses and thoughts running scared and satisfaction widely awoken.

As the following even shorter red hot hellacious stabs the senses through the equally severe fires All Women Must Die, No More Friends, and None Shall Be Saved, Miserable Failure leave no doubt as to their promise and powerful craft but are given no favours by the production on their contribution which swings too far to the raw and caustic extreme leaving elements lost and almost toothless. In saying that, as they close with the acutely turbulent Inside Me you only want to hear more, just with a more understanding hand around the maliciousness.

     Quite simply the Miserable Fucking Society Split is an outstanding release bringing attention to three promising and impressive bands. What more could you ask for?

Full album now streaming at:

Infected Society 8.5/10

F Stands For Fuck You 9.5/10

Miserable Failure 7.5/10

Miserable Fucking Society Split 8.5/10

RingMaster 04/09/2013

Copyright RingMaster: MyFreeCopyright

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Nolentia: May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All


    Is it possible to enjoy an album like May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All when it is such an abrasive and destructive endurance to suffer? Quite simply yes though it took time to make its final persuasion though it might just be it wore down the defences and forced a submission. Either way by its completion the new album from French agiteurs Nolentia leaves one infernally violated but rewardingly spent.

Released through Kaotoxin Records, May the Hand… is a furnace of seventeen unbridled grindcore annihilations. Fusing a mix of grind, hardcore, doom, crust, and sonic blistering, Nolentia rip the senses into whining victims whilst simultaneously burning synapses with a venomous acid which eats away until only mental sushi is left.  As you can imagine the band which formed in 2007, is not an encounter which holds back on unleashing pain and a merciless form of intensity which permanently brands, but at times it is also a tempest with the most compelling and bewitching of grooves and imagination submerged within the full on abuse. From their first demo Sell Your Soul to Grind’n’Roll! of 2008, the band found themselves sharing stages with the likes of The Arson Project, Benighted, Dagoba, Disgorge, Imply In All, Inhume, Knut, Sylvester Staline, Textures, and more. The following year brought their debut album …One Loud Noise and It’s Gone, a release which put them on the horizon of a great many with its unpredictable squalling sounds. During the next years the Toulouse trio successfully left Brutal Grind Assault 2011 buckling under their storm with bands such as General Surgery, Maruta, and Wormrot, playing alongside bands like Atara, Exhumed, Magrudergrind, Mass Grave and Rotten Sound, and late last year the signing with Kaotoxin.

Their second album is an intense and dark monster which either invades and consumes with the predatory instinct of an exhausting 760137001720_TOX017_Nolentia_artwork_1400x1400_300malevolent swamp or just chews up and spits out the listener in a violent brawl of sonic outrage, often combining the two as with opener The Boiling Frog Principle a track which prowls with a malice which explodes into sheer nasty turbulence. As throughout the album, the bass in first song is a deliciously intimidating and bruising spoke in the wheel of sanity, its insidious breath as corrosive and threatening as the sonic discord fervour which slashes with sabre like accuracy on the ear elsewhere.

Songs like A Lament for the Road Kill and Xie Xie continue the pleasing unrelenting heavy ache in sound and effect with a varied yet uniformal sonic profanation, though they do not spark any lasting addiction to be honest. That is soon offered by the soon to revel highlights of the album starting with Too Far Gone, a song which actually recedes in its aggressive stance to unleash hypnotic rhythms and a strangely seductive melodic wooing within the persistent heavy grazing. The album as it progresses gets better and more appealing, its mid waypoint where the convincing is won in the favour of the release, brought on by tracks like the mighty caustic barracking of Wright. The song is a magnetic assault with twists in attack, pace, and invention to leave one equally intrigued and compelled as they are left smarting under its demanding assault.

Throughout the bass is a thrilling aggressor and in The Ticking of the Clock, a brutal hunger upon the ear which drives the destruction of the song deeper than ever. The dual vocals rip through flesh across every song on the album, their two levels of extremes a perfect ravishment against the equally devouring sounds and here they find their nastiest pinnacle. Gasoline and All About, the best track on the release, leave their own distinct sonic rape on the senses with the latter stealing top honours through its stalking gait and teasing sonic flamed groove which spears the thunderous ruptures which explode within the delicious inflexible grind.

May the Hand… is certainly not an album for everyone, as quite simply it is a release which either hurts or pleasures; for those who truly connect with its grindcore might though it satisfyingly does both. If the likes of Pig Destroyer, Brutal Truth, and Napalm Death hit a chord than Nolentia definitely needs an investigation, they convinced us…eventually.


RingMaster 04/02/2013

Copyright RingMaster: MyFreeCopyright

Livarkahil: Wrath Of God

Following on from their staggering in all aspects of the word album Signs Of Decay of last year, French death metallers Livarkahil have returned with an even greater and devastating treat. Wrath Of God is a five track brutal monstrosity of excellence which has been unleashed as a free streaming/free download EP. Not only do the Parisian death metal leviathans rage an unstoppable sonic war upon the senses and body they do it for nothing, a selfless act of pure sadism.

Since forming in 2007, Livarkahil has unrelentingly whipped an ever increasing devoted following into a full frenzy through their outstanding releases, each one finding the band evolving into greater and more impressive spheres. Wrath Of God is no different and though arguably it is not an improvement on the previous colossal album it is not decline either but triumphantly explores new ideas from the band. The biggest difference is the vocals of HK. On the EP he has taken his previously gutturally pushed corruptions into an even more blackened arena and it works wonderfully. Though not as varied as we are used to the new approach brings a different thrilling blistering for the ear and one can only hope he combines this new flavouring with his more standard abuses in the future.

As to be expected the band leaves nothing on the table musically, in invention or force. The songs within Wrath Of God are as towering and violently unstoppable as the greatest tsunami. If there is a more clinical yet annihilatory band around it is hard to bring them to thought as the EP lays waste to the senses. As with previous releases  the core of the sound on the EP is death metal but there is again much more surging within the consumption, the band ripping up and re-animating in their own cause varied and distinct metal and industrial flavours. This makes for a persistently tumultuous storm of rampaging noise and invigorating invention. There is never a respite to grab a breath but with every note and second igniting emotions and synapses once dormant, it is extremely rewarding and welcome.

The restrained but sonically brewing intro of The Eternal Sun immediately grasps attention, its acidic melodic lure mesmeric before the militant rhythms emerging behind. The track soon erupts in a battalion of steeled jabs from drummer Skvm and challenging riffs thrust forward by guitarists Träume and Sonaer whilst bassist Simurgh prowls with devouring psychotic lines. Heavyweight muscles are flexed and incendiary melodic incursions lit as the track expands into a crushing and spiteful assault. It is an immense opener with its seven minutes plus of inspiring and cyclonic energy leaving one deeply satisfied.

From there the band raise the temperature and quality even more with the brilliant Through Hatred And Devotion. Making the previous track seem almost docile the song obliterates nerve endings and senses with a rabid ferocity. With jackhammer intensity through the merciless artillery of Skvm and denting bedlamic riffs, the song is a writhing creative black force towering over its recipient with venom and imaginative malicious intent.

The following Deny Your God is no less vindictive with a twisting barbed groove slashing the ear from within the ferocious invention and play. Like an anger fuelled bear, the track curses and stalks with an unbridled predatory taunting, its heart and voice snarling with a malevolence borne of the darkest pit.

     Devotion picks through the debris left behind with equal spite but brings a melodic glow to its tempestuous eagerness. Though arguably the least addictive of the tracks it has a siren breath to it with an insistently intriguing imagination and dark harmony underlining the surface black energy. This leads to an eventual contagion and pushes the song forward as one of the best on what is a stunning release.

Closing with the hypnotic ingenuity of the title track, another deeply intrusive and full gratifying explosion of craft and idea brewed in a vat of aggressive and oppressive creativity, Wrath Of God is easily one of the best things to appear this year. and Featuring guest appearances from Julien (Benighted), Henrik (As You Drown) , Mkm (Antaeus, Aosoth), BST (Aosoth, The Order Of Apollyon) and INRVI (Aosoth, VI), it is as mentioned released as a free download (link below)so there really is no excuse available to not go and feel the brilliance of Livarkahil.

RingMaster 15/06/2012 Registered & Protected



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