Unbowed – Dogma

Unbowed_RingMaster Review

Two years ago Canadian metallers Unbowed grabbed thick attention and praise with debut album Collapse The World. It was a raw and ravenous slab of black metal atmospherics fused with death metal corrosion; blackened death metal with melodic tendencies that was unafraid to push it and its creator’s boundaries. It was also rich in open potential which has now been nurtured to striking effect for new EP Dogma. Offering four atmospherically primal and raw yet creatively elegant tracks, the release sees the Ontario duo breach a new plateau of songwriting and sound whilst opening fresh potential suggesting even bigger triumphs to come.

Formed in 2011 as a studio project by multi-instrumentalist Alex Snape and vocalist Ioan Tetlow, Unbowed proceeded to release a self-titled demo EP, the aforementioned Collapse The World, and bring together a live line-up which has played a host of shows and shared stages with the likes of Battlecross, Einherjer, The Contortionist, and Erimha throughout Ontario. Their bracingly invasive and imaginatively provocative sound has seen the band’s reputation grow within the underground spreading outwards and you suspect things are set to erupt with greater strength again as Dogma infests ears.

Unbowed Dogma - Final Cover Art_RingMaster ReviewThe EP opens with The Bleeding Throne; an enveloping of the senses and imagination from its first breath marked with a herald of melodies and atmospheric keys. It is a welcoming if portentous prelude to a rampant cascade of rabid riffs and matching rhythms within a wave of intensity as catchy as the thrash like canter that emerges from it. The craft and sound of Snape quickly impresses and works away on appreciative ears whilst the raw throated vocal squalls of Tetlow add a just as effective drama and predatory temper to the tapestry of provocative sounds around him. Thoughts of warriors, deceptions, and bloody turbulence are easy casting for the imagination as the song expands its sonic narrative, but equally there is an exotic beauty and expressive majesty to the song which grips the listener. It all further enhanced by the tendrils of varied metal and livelier variety in the vocals with blossom throughout.

It is a gripping and fascinating start which continues in the even more confrontational Besieged; though it too spins a web of guitar enterprise and rhythmic tenacity as infectiously alluring as it is barbarously intimidating. With sweeping melodies and expressive keys, you can visual the setting for the song’s drama and narrative. Broad and expansive, harsh yet beauteous landscapes are visualised, providing the canvas for the resourceful and enthralling imagination of the two musicians. As the first, the song bewitches as its trespasses, leaving a hunger for more which the closing pair of The Fall and Echoes of Cernunnos heftily satisfy. The first merges consuming textures and destructive virulence with flowing ambiences around epically poetic melodies whilst its successor provides an animus of ill-intent and immersive sufferance brewed with sonic rabidity. Both take unexpected and dramatically contrasting turns, the first especially enthralling with its melancholic and tainted reflections. The final song is more concentrated in its core attack but around its invasive spine, Snape creates a realm of celestial grandeur and earthbound intimacy coloured by the great vocal abrasion of Tetlow.

Dogma is superb, a release which only reveals more depths and corners with every listen. It leaves the band’s potent last album pale in comparison and equally many a black and death metal emprise heard in recent times.

Dogma is available from February 12th @ http://unbowedofficial.bandcamp.com/

https://www.facebook.com/UnbowedOfficial   https://twitter.com/UnbowedOfficial

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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Sekoria – Im Reich der Schatten

Sekoria-Promo_RingMaster Review

An invasive infestation of melodic black metal bred with symphonic adventure, Im Reich der Schatten is also a lingering persuasion which lures attention repeatedly back. The second album from German metallers Sekoria makes a potent first impression, increasing its attraction over each venture into its atmospheric trespasses whilst all the time laying seeds that draw an appetite to immerse in its ravenous landscape again; that a success in anyone’s book.

Formed in 2010, Sekoria had fans and press praising their debut of two years later, Iter Stellarum. Backed by a potent live presence seeing the band share stages with the likes of Milking The Goatmachine, Arroganz, and Vyre, the current foursome of bassist/vocalist Tobias Forneberg, guitarist/vocalist Felix Piroth, guitarist Matze Markwart, and drummer Mathias Törster have continued to expand and explore their melodically toxic and riveting symphonic black metal, the latest results bringing us the recently released Im Reich der Schatten.

It has become almost expected for dark and extreme metal release to open with portentous instrumentals epically harkening tempests of war or change, and Im Reich der Schatten is no different. It can be predictable but when it is done right with cinematic potency as in opener Einbruch der Dunkelheit, it can have ears and imagination eagerly involved. The suggestive starts leads straight into the album’s title track, a furious and rabid onslaught of swiping rhythms and harrying riffs bound in vitriolic strands of guitar and prowled by the insidious air and tone of the vocals. It is a voracious proposal quickly stirring up pleasure, especially as it imaginatively evolves into a rousing yet still rapaciously anthemic canter combining raw shadows and elegant tempting.

Sekoria_-_Im_Reich_der_Schatten_Cover_RingMaster ReviewImmediately the following Die Nachtigall shares primal intimidation with its opening menace, bass and riffs colluding in a bestial yet composed stalking as a symphony of emotion brews. As repeated across the album, it is a magnetic union of contrasts which blossoms further as keys bred ambience soaks the senses in the midst of a vocally ravishing confrontation. There is an air of hope and emotive safety too within the song’s closing and still savage passage which comes with thicker evocative hues in the guitar spun instrumental Ein neuer Weg. Its melancholy laced lure flows into the similarly tantalising Wesen der Zeit, before tumultuous intensity driven by rapier like beats and threat carrying riffs overwhelms the senses. Again though, as they get bruised and violated, the imagination is sparked by flowing melodies and atmospheric caresses whilst being further incited by throat scarring vocal squalls.

Through the immense ebbs and flows of Canticum Maris and its ear lapping and increasingly intensive waves of provocative textures and rancorous intensity and the fiercely tempestuous roar of Der Sturm, den ich rief, the album finds another fresh spark to entice and inspire thoughts with. Both offer a creative drama which fascinates and seduces as it defiles; a quality continuing through the caustic animus of Vendetta and the crushing intensity and infectious bad blood of Der Fall. Whilst each is an individual intrusion of murderous rock ‘n’ roll, they only increase in potency and effect as each listen reveals new layers to their hellacious depths.

Die vergessene Welt offers a land of dark secrets and sonic menace next before Thron aus Eis avails ears of its own forcibly alluring and corrosive temptation. The first of the two has a progressive nature to its melody infused shuffle, contagious exploits colluding with haunting symphonic drama, whilst its successor is a cold yet inviting storm abating with warm oases of melody and reflective enterprise.

Completed by the fluidly shifting but perpetually jaundiced heart and air of Ein letztes Mal, band and album leave ears and thoughts exposed and numb from its abrasive exploration, but equally contented. There seems like a running theme through the album which is hard to pin down not speaking German, but emotionally the release leaves no doubts to its creative grudge and inventively crafted examination of narrative and listener. Im Reich der Schatten announces Sekoria as a band on the rise and with the potential of even bolder imagination and variety to come.

Im Reich der Schatten is out now via Kernkraftritter Records.

http://www.sekoria.de/   https://www.facebook.com/sekoriaband

Pete RingMaster 27/01/2016

Copyright RingMaster: MyFreeCopyright

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Tranquillizer – Des Endes Anfang

Tranquillizer_bandfoto_RingMaster Review

Whether by design or just how personal appetite took to its rancorous yet feisty mesh of sound, fair to say Des Endes Anfang, the debut album from German metallers Tranquillizer, took its time to fully persuade. Convince it did though, from the first couple of listens unveiling an increasing magnetism that ears could only take notice of. With the discovery of more imaginative layers aligned to involved flavours and textures adding to its appeal over subsequent plays, the nine track blend of ruinous black and melodic death metal emerged a potently satisfying proposal.

Formed by vocalist/trombonist Johannes Guerken and bassist Madelaine Kühn, the Frankfurt hailing Tranquillizer endured a host of line-up shuffles as they forged a soon eagerly supported live presence leading to and from the release of debut EP Blutrot in 2011. With their first German tour following two years later, the band worked their sound and way towards the creation and recent release of first album Des Endes Anfang, an encounter seeing guitarists Aleksander Vetter and Fabian Wohlgemuth, and drummer Nico Dunemann alongside Gauerke and Kühn, drawing broader attention with its collusion of varied flavours with that core extreme tempest of sound.

Artwork by: ThornyThoughts Artwork&Tattoo

Artwork by: ThornyThoughts Artwork&Tattoo

Agonie is the first to entangle the senses and imagination; the brief instrumental brewing smog of sonic suggestiveness within a similarly sculpted portentous atmosphere. Soon rhythms are bringing an energetic coaxing to the mix, their anthemic prowess against the more caustic guitars a potent lure into the more irritable nature of Eine andere Welt. The throat stripping vocals of Guerken soon scar and infest the air, they the first strain in his varied delivery which differs in strength but always keeps ears guessing and thoughts satisfied. Around him the guitars spin a web of contrasting sonic enticing and savaging riffs, the bass of Kühn a provocative predator alongside. As in the first and repeated throughout the album, there is a contagious swagger and rock ‘n’ roll swing at the heart of the song, its success an accomplished temper to the more insidious elements in the band’s sound and tracks like the following Bestie Krieg. Unsurprisingly there is a primal air and bestial tone to the song as it climbs venomously through ears, the rhythms providing a rabid onslaught within the more deliberate stalking from guitars and vocals.

Werde Zu Staub conjures a more melodic if still antagonistic colour to its blackened rock ‘n’ roll, the guitars as much a suggestive flirtation as an intimidating fury within the fierce and catchy incitement. Even bass and drums fluidly switch between merciless menacing and magnetic guidance across the song’s volatile narrative of sound before Kapitulation grinds its nagging riffs and open bitterness into the psyche through a stormy and unrelenting challenge. The track is a tempestuous affair though that evolves in emotion and climate, never veering away from the darkest feelings and bad blooded intent but drawing on some tantalising melodies and melancholy drenched calms to enrich its emotive journey.

The insatiable onslaught of Blutrot grips and thrills next, its corrosive entrance evolving into another predacious stalking of the senses and in turn a cauldron of virulent grooves and toxic expulsions. Each element reveals its own infectiously involving swing no better epitomised than by the rich blaze of Guerken’s trombone making its first major appearance on the album and quickly elevating what is already a riveting encounter with its herald like calls.

That new element seems to spark new invention and unpredictability within the album even without the help of its presence. Welk bounds in next in a tapestry of diverse flavours and almost bedlamic ideation, whilst brewing belligerent animosity. The track, as its predecessor, swiftly stands above what came before and it is no coincidence that the album is at its pinnacle when the band gets bolder with their imagination and adventurous entangling of varied styles without defusing their devouring of ears with sonic and vocal jaundice.

Des Endes Anfang remains at its new plateau through the final pair of tracks; the carnal rabidity of Ins Licht first smothering the listener in murderous enmity. All the time though it is whipping up a contagious persuasion around the bitter range of vocal trespasses, the guitars step by magnetic step driving towards melodic escapades if still with the raw winds of corrosive virulence at their backs. Its impressive buffeting is replaced by the voracious yet less violent Seelenreiter; a tantalising whipping up of ears and imagination opening with welcoming siren like blasts of trombone before sculpting a maelstrom of swirling sonic tendrils and heftily resourceful rhythms.

It is a fine end to an album which only grows and impresses more with repeated plays. Wait twenty odd minutes after the last note of the closer and there is a more than decent secret track, but the best is already in the open, perpetually pushing Tranquillizer and their enjoyable scourge of a release to new attention.

Des Endes Anfang is out now @ https://tranquillizer.bandcamp.com/album/des-endes-anfang

https://www.facebook.com/tranquillizer.official   https://twitter.com/tranquillizerff

Pete RingMaster 26/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Attan – From Nothing

ATTAN_bw_RingMaster Review

In their own words, “there’s nothing but ice and darkness” to the far northern border of Norway where noise breeders Attan was bred, but equally going by the band’s debut EP there is also plenty of frustration, rage, and creative turbulence nurtured by the landscape. From Nothing is a five track onslaught of blackened hardcore with a voracious metal bred antagonism to it. To that doom seeded breaths are conjured and inflamed emotions vented; the result a release which potently hits and impresses initially but just gets fiercer and more compelling in its persuasion from thereon in.

Oslo based, the quintet draw on inspirations and flavours found in the likes of Converge, Emperor, Neurosis, Will Haven, and VOD; influences as their Shelsmusic released EP shows, open in the band’s sound but twisted into something if not yet explosively unique, certainly invigoratingly fresh and riveting.

ATTAN COVER_RingMaster Review   Recorded and mixed in a barn in Lunner, a village in the municipality in Oppland county, From Nothing quickly abrases ears and ignites attention with opener Nocebo (I Shall Harm). It is a stonking bruising of a track from its first second to last, straight away offloading beats and riffs that batter and rub the senses respectively. A bass and thick sonic confrontation joins in soon after as early rhythms become broader and rasping vocals erupt to enticing effect. Straight away you can easily imagine essences which have inspired the band but as the punk fury lays richer abuse and volatility on ears, the venomous contagion springs its own character in the Attan sound. Like Shevils meets Converge, catchy toxicity colludes with undiluted ire and hostility, the track continuing to grow and surprise against the maelstrom of vocals which mix piercing squalls with the new additive of dark grizzly tones.

It is a great start to the encounter matched in success by the even more irritable and punishing Lost Words Of The Mothkeepers. The again double sided assault of vocals is a swift tempting within the searing intrusion of sound, rhythms barbarous as a sonic tempest niggles and intrudes with its searing tone and invasive touch. The unbridled onslaught ‘calms’ as the song progresses, though not in spite as a doom blossomed oppression of noise smothers the senses. Still there is virulence to the proposal though; an element which easily captivates from within the perpetual turbulence.

Full Circle/Full Stop comes next, its initial approach a ‘mild mannered’ sonic trespass with emotive hues and prowling rhythms. The whole nature and gait of the track is a stalking of ears and emotions with repetitious lures and a hypnotic shuffle cast by the drums. Midway it too explodes into a provocation of punishing dynamics and tortured vocals but simultaneously brewing up another torrent of infectious bait to align with the physical raging.

Such the sheer force and rabidity on offer in all tracks, there is a surface familiarity at times which you sense some will not get beyond, but as Black Liquid Marrow reveals, below that skin Attan spin a web of intrigue and creative hostility which seems to unveil a new twist and depth with each listen. The fourth track is more openly unique than the first trio, so that extra attention is less needed but willingly given such the drama and tenacious enterprise within the doomy oppression of sound and emotion.

As all songs, it is an increasingly magnetic and persuasive protagonist, but as others shaded a touch by the closer Edward. Admittedly, the track took longer to spark the same height of reactions as its predecessors, but over time, providing new tempting and aspects each listen, it seduced with its sonic nagging and rhythmic dynamics. Alongside them the excellent mix of vocals continues to please as sour melodies wrap around the doom coated spine of the song, though it is the almost post metal invasion of the imagination and bordering on emotionally cancerous heart of the incitement which seals the deal between band and pleasure.

Attan are going to be too intensive and merciless for some it is easy to suspect, especially those unprepared to explore their sound and the EP’s layers, but for others, From Nothing will be an introduction to get a touch excited over; we can vouch for that.

The From Nothing EP is released November 30th digitally via Shelsmusic @ http://shelsmusic.bandcamp.com/album/from-nothing and on Limited Edition Vinyl (300) @ http://www.shelsmusic.com/label/store.php

https://www.facebook.com/Attanband

Pete RingMaster 30/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Curezum – One Hundred Years/The Top

Curezum Promo _RingMaster Review

It was hard to know how seriously to take the new two track single from Curezum, they a black metal tribute band to The Cure, and almost too easy to dismiss it without a chance. But everything deserves a piece of attention and as band and release provided a thoroughly potent and enjoyable time, thankfully we did give it some. It is probably fair to say that the single is not going to ignite major fires yet there is no escaping the highly persuasive and compelling job the band did with two particularly well known and for some revered tracks. Its success also shows how thin the veils between genres are at times when given a twist and infusion here and there.

Curezum - 10 Years Artwork _RingMaster Review   The project began with lead guitarist/keyboardist Mort Subite (Megaton Leviathan, Vaital Deul, Alfheimr) and drummer Martti Hill (Barrowlands), the band finding themselves united in imagining the relative simplicity of taking The Cure’s album Pornography and re-imagining it as a black metal proposition. It is probably fair to say that the Brits are an obvious inspiration and love for the pair too which only added to their enthusiasm to push the project forward. A search for the right musicians to help bring their idea to light and demands of the pair’s other projects took up plenty of the following time but eventfully a linkup with Billy Anderson (Blessing the Hogs, Porn, Solodolor) for additional production duties happened, he also providing bass on the single, with vocalist/rhythm guitarist Rob Vikernes completing the line-up.

The opening track to Pornography, One Hundred Years attaches itself to ears and an awaiting appetite with swiftly hypnotic rhythmic bait, its lure the spring board to recognisable acidic melodies and similarly potent hooks. Straight away though, the raw and almost insidious tone of the track provides a welcome but invasive quality, the guitars great abrasing irritancy against the dark seductive lure of the bass. The scarred and magnetic tones of vocalist Vikernes only add to the harshly tempestuous nature of the track too, the band soaking the atmospheric shadows and elegance of the song with their own pestilential hue.

It has to be said that the version is outstanding, a close rival to the original and able to stand alone as Curezum, not quite making it their own, give it a potent character change without losing the dark melancholic majesty of the original. The same applies to the other side of the single, The Top. Obviously taken from the album of the same name, this song also finds its familiar tones and essences infused with fiercer predacious intrigue and toxicity. Crawling over the senses, the song is cancerous, like creeping smog of venom guided by a prowling rhythmic contagion amidst a web of corrosive emotion and enterprise; the vocals the demonic heart at the centre of it all.

Whereas One Hundred Years holds on to some of its original virulence, its companion is a festering sore of pleasure becoming more intrusive and gripping over time. Both tracks are surprising treats, quickly devouring any doubts before venturing into the single’s cavern of dark ravenous delight. Curezum is currently working on a whole album of such enticements and after this, anticipation is definitely lively.

One Hundred Years/The Top is released digitally on November 28th with a physical release to come.

http://www.facebook.com/curezum

Pete RingMaster 26/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Pathologic Noise – Gore Aberration

_MG_1153_RingMaster Review

It has been twelve years since the release of their debut album, a period where Brazilian death metallers Pathologic Noise, certainly outside of their homeland’s underground scene, has been a big miss for some and, easy to suspect, a secret to a great many more. We can tell you what consumed the band’s creativity since that release but however the band spent the time, musically they have honed and re-energised their striking style of splatter death metal to invigorating effect. Evidence comes with second full- length Gore Aberration, a carnivorous violation of a savaging as thick in addictiveness as it is brutality.

Bred in Belo Horizonte, Pathologic Noise emerged in 1992 and took little time in making their mark upon the local and in turn Brazilian underground scene. First impressions and successes were reinforced by a trio of demos between 1995 and 2001, with debut album Sodomy and Delight on Flesh awakening broader attention and appetites with its release in 2003. As mentioned earlier, the time for the band between that well-received release and Gore Aberration is a mystery but fair to say it was well spent as Pathologic Noise return more creatively vicious, sonically bloodied, and intrusively potent. Major surprises are maybe a lesser factor within their latest album, yet there is stirring freshness oozing from every raw pore of its virulent contagion, which alone helps make Gore Aberration one of the most enjoyable genre releases this year.

capa_pathologic_online_RingMaster Review     The release opens with Never Ending Blood’n Hate, and an immediate entanglement of spicy grooves aligned to barbarous rhythms. Driven by a ravenous intensity and intent, the track is an uncompromising proposition, especially once the insidious vocal presence, led by bassist Tchescko Suppurator, lays its great toxic tones on the reins of the punishing incitement. With searing enterprise further spun from the guitars of César Pessoa and Claydson Melo, the opener sets the scene and tone of the album whilst igniting the imagination and a quickly greedy appetite.

It is a thrilling start matched by the even heavier footed and predatory Sexual Murder. Rhythmically though drummer L. Muratchas is a more considered protagonist, only unleashing his full venom once the guitars spew tendrils of heavy metal resourcefulness and sonic drama. It is the full-on chewing of the senses through riffs where the song excels especially but fair to say that every second is a thickly enticing lure, emulated and intensified by Pathologic Metal Vision. Again riffs and very often grooves too, descend and nag the senses and psyche like a drill bit on flesh, the merciless torrent of rhythmic barbarity working like a psychotic jackhammer simultaneously. It is a merger reaping havoc across the whole of Gore Aberration and especially torrential and pleasing on the third track.

Master of Suffering flings an infection of rock ‘n’ roll at ears straight way within its instant tempest of sound and attitude, that virulence twisted into a sonic stalking and vocal causticity soon after. The track persistently evolves as an array of imaginative ideas throw temptation into the mix, leading to a great bedlamic but skilfully ordered stomp that employs all ingredients again and again to rousing success.

That psychotic tapestry of sound is never far from the surface of any song within Gore Aberration, always bubbling near if not on the surface as in Bloody Deliriums, a carnal furor firing up an incendiary violation littered with rabid grooves and crippling rhythms, Bass and drums maybe at their most primal and savage here but equally in the following Lights on the Dark Sky. The track is physical and emotional rabidity, a corrosive onslaught but equally a scavenger feeding on bruised senses and through grooves which prey on the imagination as tempestuous rhythms ebb and flow in uncompromising hostility whilst a vocal trespass roams the violent maze of sound with demonic intent.

Pathologic Noise never lower their animus of sound and emotion with the album closing just as sadistic and punishingly insatiable as it had been up to the point of closing pair, Calling with the Deads and War Lust (Queen of Carnal Pleasures), and as cruelly catchy. The first of the final pair roams the senses with a piercing sonic resourcefulness and a wanton rhythmic and riff loaded premise as wild as it is nastily concentrated whilst its successor simply smothers the listener in suffocating intensity amidst a brutal scourge of sound, both tracks thrilling ears and inciting thick pleasure.

Spewing a sound easy to liken to bands such as Cannibal Corpse, Deicide, and Morbid Angel, as many have, Pathologic Noise might not be re-inventing the wheel with Gore Aberration but certainly shows all how great and hungry death metal can really get the body and passions going.

Gore Aberration is released November 2nd via Greyhaze Records and available at https://pathologicnoise.bandcamp.com or http://store.greyhazerecords.com/index.php?route=product/product&product_id=376

https://www.facebook.com/pathologicnoise/

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Christ Agony – Black Blood

Michał Grabowski - photo

Michał Grabowski – photo

Founded back in 1990 by vocalist/guitarist Cezar, extreme metallers Christ Agony have a pedigree and armoury of well-received and acclaimed releases which alone makes the band’s upcoming ninth album, scheduled for release next year, a highly anticipated proposal. Add new three track EP Black Blood as a teaser, or in the words of its press release, ‘the harbinger’ of that impending release, and it is easy to see Christ Agony once again being a highly talked of incitement within black and doom bred metal.

The Black Blood EP is described as Christ Agony returning back to its roots, taking the inspiration of the dark 90’s and the period of their acclaimed 1996 album Moonlight – Act III to its creative breast. Cezar has called the release, “the circle of the wheels of time is complete… the black blood of the universe pumps the venom in the infernal veins”, and there is no escaping the potent and ripe essences of the band’s past bringing rich hues to their new and fresh exploration of sound and senses.

BlackBlood-frontcover_RingMaster Review   Recorded at Studio 666, the EP opens with Black Blood Universe, swiftly engaging ears and imagination in a thick doomy swamp of intrusive black and death metal lit by celestial harmonies and a shadowy clean vocal delivery around the insidious intrusive squalls of Cezar. Thumping beats from drummer Darek drive a torrent of bracing riffs cored by the predatory stalking of Reyash’s bass, their rabid union a tempering contrast but equally incendiary incitement to the melodic toxicity and mellow atmospheric charm of the demonically rousing encounter.

The track intimidates, invades, and seduces body and emotions with equal measure and success, leaving a lingering imprint even as Coronation saunters in with its own sinister swing and rapacious character and sound. Rhythms entice as guitars provide a scourge of scarring riffs and infectious grooves, the bass lying between the two in its bait as the track increasingly lures and grips the imagination, especially when a melodic dance frees itself from the intensive shadows to weave a magnetic web of enterprise courted by the increasingly carnivorous tone and prowl of the bass. The song is a forcibly gripping offering, only tightening its hold on appetite and pleasure with every passing twist of ideation and trespassing lick of insidious sound towards warmly haunting caresses.

The release is completed by Kingdom Ov Abyss, a track swiftly enslaving attention through its rugged rock ‘n’ roll of riffs and hooks within another blanket of emotive intensity. The invasive tones of Cezar again invite as they spew their rancor into the veins of the senses but it is the arousal of pleasure ignited by the belly of rock ‘n’ roll at the heart of the creative and emotive animus that triggers an unavoidable lustful appetite for the song.

If Black Blood is the true hint of the next Christ Agony album than further thick acclaim is heading the way of Cezar and co; more to add to that sure to be provoked by this excellent EP.

The Black Blood EP is out now via Witching Hour Productions, available digitally @ https://witchinghourproductions.bandcamp.com/album/black-blood and on Ltd Ed 12” vinyl, CD, and cassette @ http://store.witchinghour.pl/

https://www.facebook.com/ChristAgony

Pete RingMaster 02/11/2015

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