God Destruction – Novus Ordo Seclorum

10369740_702219499834086_1875462536860800187_n

Having preyed upon and traumatised the world with their richly acclaimed and exceptional debut album Illuminatus two years ago, Mexican provocateurs God Destruction return with its successor Novus Ordo Seclorum. It has been a battle to bring the release to bear upon the senses, the demise of their previous label an imposing obstacle, but finally the insidious collection of dark and intensive anthems for the soul and psyche has been unleashed to the continue the impressive emergence of the band. Darker, intently more venomous, and arguably even more viciously intimidating than its predecessor, the album infests the trio’s industrial and harsh EBM sound with a black metal rapacity which infects and enflames the senses and imagination voraciously. It is another uncompromisingly thrilling and hostile proposition which without surpassing the previous release sits potently alongside its stature.

Consisting of Imperor, Charles Black, and Muteitor, the 2009 formed band as expected explores the most primal and vindictive sounds within the new release’s satanic themed tracks. The album exudes a constant pressure and gripping irritant on the senses, each song crowding the listener with ravenous and at times concussive waves of sound and ideation which exhaust as they spark ears and imagination into willing submission. It is a mighty and riveting encounter but one which suffers from a meandering and at times potency defusing mix from Mario Carrasco (SIN DNA). There are certain tracks where clarity is smothered in a distorted touch which corrupts the quality of the song within though the strength of the songs always wins through.

The Juggernaut Music Group release opens with New World Order and immediately has ears wrapped in a predatory sonic provocation veined by a sample of Middle Eastern suggestiveness. The track instantly surveys the climate of the world with its initial seconds, beats a menacing incitement to the vocal suasion flirting with thoughts. Eventually the track explodes into a tsunami of electronic enticement bred in inhospitable breath, where it shows itself to suffer from the awkward mix, though maybe the warped sound and touch is intentional. Nevertheless the track continues to swarm around the senses, its melodic and sonic appetite entangled for a scorched and acidic enterprise. It is not a startling start to the album but one rigidly gripping attention and appetite which I’m Your God and especially Bellum capitalise on. The first of the pair also takes a mere second to intrigue and grab the imagination, its initial heavy emotive keys a classical lure into the waiting arms of abrasing electro caustic and punishing beats. The song proceeds to leer at and climb over emotions with its demonic intent and the equally serpentine vocals, exposing them to its treacherously seductive heart before making way for the album’s best moment. Bellum is a bordering on sadistic provocateur from the first intensive scrub of riffs and electronic scowling. Antagonistic rhythms join the corrosive mix swiftly after as the track blossoms into a twisted tempest of deranged electronics, warped guitar endeavour, and again that irrepressible erosive vocal presence which marks out the band as pleasingly as its sound. The track is scintillating, a traumatic blend of metal and industrial antipathy soaked in epic drama and climactic atmospheres.

The dangerous air and sonic swing of Disintegrator comes next, its lures as infectious and crystalline as they are caustic before making way for a cover of the Marilyn Manson track Angel With The Scabbed Wings. The encounter coveris another crawl through the psyche, the band employing the prime essences of the track’s creator and twisting them into an impervious fiendish temptation which impresses far more than expected. It is a richly appetising baiting which is matched by the following Prominent Darkness. The slow predation which marked the previous track is again the formidable gait and intent of the song, its thick toxicity an oppressive weave of electronic sultriness and emotive storming spiked with industrial unpredictability and melodic crooning.   Through the despotic Destroyer with its patchwork of bad blooded invention of sound and climactic provocation, and the similarly structured Satan’s Storm, the album persists in its riveting exploration and diabolical persuasion. The latter is toxic bait for the dance floor which works as easily on feet as it does emotions, though it is soon lost in the shadow of the excellent Revolution. The track drives an industrial demanding through ears with its first gasp of sonic breath, keys and guitars rippling with primal rabidity as the vocals spill an officious rancor with every syllable. It is an exhilarating assault which only elevates it’s tempting with disorientating shards and splinters of ear bending and unpredictable ingenuity. The track is sensational and stands beside Bellum as a pinnacle.

Touched By Lvcifer rises from a minimalistic coaxing into a roaring ferocity of sound and emotional spite to sear body and soul before the demonstrative Doomsday parades its own distinct ravaging with magnetic shafts of melodic and scarring electronic beguiling. Both leave hunger greedier whilst Regresus Diaboli provides a lingering manipulation of senses and emotions with its transfixing and fascinating tide of searing sonic elegance and rhythmic grudging, all as ever lorded over by the Luciferian vocals.

Completed by the C-Lekktor Remix of Touched By Lvcifer, as well as the Esquizofrenia Viral and Satanized By Alien Vampires remixes of Regresus Diaboli, the album is another inescapable and increasingly impressive violation from God Destruction. It does have that issue with its mix but again the band has cast songs which simply corrupt and ignite for the fullest invigorating pleasure, Novus Ordo Seclorum returning the band to the frontline of corruptive ingenuity once again.

Novus Ordo Seclorum is available now via Juggernaut Music Group @ http://music.juggernautservices.com/album/novus-ordo-seclorum

https://www.facebook.com/GodDestruction666

8/10

RingMaster 08/08/2014]

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Conjuro Nuclear – Self Titled

Artwork

It has to be said that the band name alone sparked intrigue and anticipation in thoughts but once the first strains of sonic conspiracy from Conjuro Nuclear’s self-titled album wrapped its charms around ears and senses, that interest soon bred a hunger. The predominantly instrumental release is a blistering and caustically charming fusion of post punk and black metal which manages to simultaneously sound strikingly unique yet recognisable in its creative drama. It is a masterfully compelling proposition which maybe does not consistently enough set a blaze in the passions but certainly owns the imagination from start to finish for a just as potent success.

Formed in 2012 and hailing from Barcelona, Conjuro Nuclear is the solo project of Emesis. Originally a duo, the project released Luna llena y radiación (Full moon and radiation) last year to strong responses. Now Emesis alone, the band has unleashed its sophomore encounter, a release easy to suspect and expect to have the potency to push Conjuro Nuclear into the spotlight of a much wider attention. Consisting of eleven tracks which are like individual episodes in a united series of events yet not necessarily within a continuous soundscape, the album is a riveting and bewitching antagonist for senses and thoughts.

The title track is the first adventure to embrace the listener and immediately its dark noir breath is an irresistible lure for ears and imagination. Keys and beats link to build a shady atmosphere which the sonic suggestiveness of the guitar lights up with acidic coaxing. The track takes little time in building scenery of danger and unpredictable drama, its creative invention and sounds the rich colour to its eventful canvas. The track has the dark tones of an intrusive mystery and the exotic hues of a sci-fi emprise, and easily lures thought and emotions to its expressive and inescapable bosom. Production, as it is across the whole album, has a muggy/ sultry come oppressive feel which only adds to the intensive weight and texture of the sounds, which in turn thickens the thoroughly absorbing incitement.

The following Oscura lisergia is of similar breeding, a repetitive lone groove stealing the passions as a tempest brews and squalls around its infectious bait. Initially thoughts of eighties bands like Crispy Ambulance and Leitmotiv come to the fore, the prime sonic hook reminiscent of that era but the track is soon flushing a black metal causticity across the senses which smothers but does not extinguish that ever virulent enticement. It is a brilliant slice of hostile beauty which like its predecessor sets the album on the highest plateau immediately. Its lofty success is then matched by the elegant beauty of Atomización. Keys float across and call emotions from its first spatial breath, courting their instincts with a haunted but crystalline grace which again urges the imagination to cast its own designs.

The next up Divinorum is borne of a more malicious intent, its blackened storm of sonic abrasing and severe ambience a searing black metal animosity. Through it though, a spine of sonic tempting casts a contagious line, its sharp twang and citric flavour carrying reminiscent of a The Jesus and Mary Chain like lure. Raw insidiously spawned vocals make their most forceful appearance on the album too though they are submerged within the corrosive wash of the song to lack real clarity. The track broils ears with its ravenous presence and erosive breath, leaving them smarting intensively, though the psych rock/darkwave tenacity of Intoxicación brings an initial soothing before unveiling its own irrepressible and infectious toxicity of sound and energy. Though neither track matches the heights of the first few songs, each leaves an exhausted pleasure and appetite in their wake which the gripping Visiones tóxicas exploits further through its darkly lit melodies and even more damaging sonic rabidity. From the somewhat clearer atmospheres of the first few songs, the album definitely takes a blacker and voraciously shadowed turn across this stretch of tracks; severe corrosive storms the core violation though they always come littered with hooks and post punk grooves which flirt continuously.

     Coros radiactivos crafts a respite to the tempestuous flow of the album at this point, its crystal honed melodies and reflectively colourful keys simply tantalising. Its magnetic beauty is taken and laid into a more fiery rock embracing setting in Bosque de cráneos, the combination a constantly expanding and growing crescendo of passion and vigorous intensity. Elements of Sisters Of Mercy and The Mission seep into the persistently bubbling mixture, spicing up an increasingly darkening and imposing landscape of sound and imagination. It is a thrilling encounter but soon left short by the outstanding punk driven abrasion of Desechos tóxicos. Binding hardcore and old school punk inhospitality with black metal rancor and sonic venom, the track simply ignites ears and passions, especially when not for the first time on the album, a surf rock enticing shows its seduction.

The album is completed by the melodic poetry of Ecos de la noche, keys and emotional hues again painting a piece of music which immerses senses and emotions with beauty and invention, and lastly the nocturnal maliciousness of Sólo para locos. Using lyrics from The Steppenwolf, the track is a deathly black metal driven scavenging of senses and feelings, which again crawls over the psyche with a sonic toxin of post metal which has the raw causticity of sound and emotion of a band like Artery.

Conjuro Nuclear has created a release which is ridiculously compelling and scintillating. Certainly there are moments where tracks without an intensive attention merge into each other’s arms and the rhythmic side of the album does not impose anywhere as much as you would like and expect, but they cannot stop it being one riveting proposition. Conjuro Nuclear is a project to only get excited about.

Conjuro Nuclear is available as a name your price download @ http://conjuronuclear.bandcamp.com/album/conjuro-nuclear-2014

https://www.facebook.com/pages/Conjuro-Nuclear/145499728948249?fref=ts

8.5/10

RingMaster 05/08/20134

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

Bjarm – Imminence

all2_2_m

Listening to Imminence, the debut album from Russian symphonic death/black metallers Bjarm, is like standing in the middle of two separate but merging dramatic climates. Walking the line between beauty and savagery, both extremes embracing each other for a tumultuous ravenous tempest, imagination and emotions are buffeted and stripped raw yet simultaneously seduced and exposed to gloriously epic and invigorating ambiences. The release is an enthralling and intimidating journey, a treacherous and at times disorientating conflict but dramatically compulsive and rewarding.

The Severodvinsk band was formed in the early months of 2009, taking its name from a territory mentioned in Norse legends and tales. The following year saw their demo Defect released, live shows, and subsequently as the next year fell changes in personnel before the band settled down to work on their first album. Self-produced, the Pavel Korotaev mixed and Tony Lindgren (Paradise Lost, Kreator) mastered album was recorded last year and has emerged as a striking and potent introduction to the impressive band.

The scene and atmosphere is imposingly set by opener Approaching of the Close, an instrumental with the charmed harmonies of angels and portentous intimidation of war. It is an epically rising portrait of the time and land Bjarm-Imminence Cover Arttheming the release, every scenic exposure caressed by orchestral beauty and dark shadows within predacious climates. Though it does not come with many surprises in its cinematic grandeur, the track grips attention ready for the opening clutches of Knowledge of Doom. Riffs rub invitingly on ears first whilst the symphonic lure of keys swirl with melodic intrigue, both swiftly joined by pungent rhythmic strikes and the throaty rapaciousness of the bass. The track expands its magnetic narrative musically with increasing washes of keys and threatening intensity whilst lyrically hoarse guttural vocals unveil the blackened premise. With siren-esque harmonies gliding overhead the track embraces and violates in equal measure for a formidable and increasingly impacting suasion. The twists do not slow, captivating female vocals laying elegant melodic hands on ears whilst intensity and provocation laps at the senses with sea like relentlessness.

It is an impressive track matched by the heavyweight presence of Ominous Dreams. Rumbles of doomy beats and brewing antagonistic air smothers ears first before keys and guitars cast a web of ill-boding enterprise. It is a strong entrance but the song really gathers pace and riveting invention with a contagiously predatory groove which emerges and the following raw rabidity which fuels a twist in vocals and the sonic toxicity expelled. The mix is insatiable in its voracious intent and merciless attraction, permeating every pore and thought as does the evolving symphonic radiance and melodically rich hues which crowd in later dripping expressive beauty. The track bewitches across its traumatic and thoroughly rewarding landscape before making way for the equally menacing and fascinating enticement of The Nine Worlds. As across the whole release, the listener is thrust into the heart of brutal intent and transfixing melodic romance, the track a battlefield for tenebrous depths and intent with golden hope and enchantment accentuated by again stunning female tones.

Fire Lord’s Torment comes next to make a strong and imagination sparking incitement but despite its skilfully crafted invention and powerfully sculpted textures fails to invite the same strength of passion and hunger for its accomplished offering as other songs, the same slip found by the instrumental title track straight after. Both tracks leave ears and thoughts alive and keen to explore more but fail to leave a lingering and deep rooted impression in their company or after, something the mouth-watering Oracle does not have a problem with. From a deliciously captivating acoustic and melodic coaxing with rising breezes of keys courted by sinew built rhythms, the song sways and immerses senses and emotions in a superbly evocative and spellbinding serenade of sound. Admittedly the caustic vocal scowls which are at odds to the seducing take time to accept but as the song continues to cast its binding spell on the emotions they become a strong texture to the siren song.

Both Secret of the Immortals and The Highest Hall keep the by now greedier appetite for the encounter well fed, the first a provocateur with thrashing swipes of riffs and rhythms aligned to a concentrated charge of intensity. It is a rolling adventure striking out from the poetically smothering melodic breath of keys which also soak the start, an emprise given greater infectious toxins by the great female vocals; something not used enough on the album, as well as unpredictable stabs and scythes of guitar imagination. The second of the two is as primal and brutal as it is rigorously compelling and masterfully incendiary, thanks again to melodies and a female croon. It is a bestial predator at times and a comforting mother’s breast in others, a torment suffocating and strangling hope tempered by the peace and security of instinctive beauty.

Imminence is closed by Tree on the Bones, a threatening and skilled fury to consume the senses but lacking that fuse to full lustful reactions, even though it creates arguably the most intricate and emotion involving proposition on the album. Bjarm has created a striking and at times startling entrance into the world of metal, with only the fact that many tracks are swiftly gone from memory and thoughts once leaving the ears. Nevertheless it is a potential loaded and thrilling incitement to suggest the Russians have a rather healthy future.

Imminence is available now @ https://itunes.apple.com/ru/album/imminence/id889323814

http://www.facebook.com/bjarmofficial

8.5/10

RingMaster 11/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Flesh Born – Han EP

FleshBornPromo1

Eight tracks across eleven minutes of raw, senses blistering causticity, the Han EP from US band Flesh Born is a fury to ignite the imagination and test the emotions. It is a raging hostility which merges the voraciousness of crust and grind with the malevolence of black metal for a distinct and unique proposition which offers a challenge of uncompromising antagonism and merciless sonic abrasing. It is not going to be for everyone, especially with its equally strong essence of screamo, but beneath its fiercely grazing surface there is a range of hooks and twisted grooves which easily trap the more adventurous hearted.

Formerly known as Elesh Norn, the Texas quartet’s new release follows their impressive spilt with fellow Texans, the blacked punk duo Cara Neir. Released on Midwest label Skeletal Lightning and with the band’s debut EP All The Pain I Built Up strapped to its B-side as a bonus, Han is primed to thrust the Denton band into a stronger attentive spotlight. As mentioned EP and sound is a raw incitement; from lyrics to vocals, passion to production an unpolished quarrel which demands attention. In some ways its production with its thick coarse touch actually defuses some of the impact of the fire blazing within the tracks but it also accentuates the adversarial presence to leave indecisive but ultimately satisfied thoughts on that aspect of the release.

Han opens with the gentle caress of Unforgivable, well a polite coaxing for a clutch of seconds anyway before riffs and rhythms explode han coverin a frenzied animosity driven by the similarly unbridled ferociousness of Miles DeBruin’s vocals. It is an immediately debilitating onslaught but one veined by highly tempting sonic hooks from the guitar of Parker Lawson. Little jabs and strands of melodic discord tease the senses to give the minute plus suasion of the song an infectious lure within the tumultuous swamp of jaundiced energy conjured by drummer Daniel Mitchell and the throaty bass spite of Donovan Ford. It is a strong and magnetic start instantly swamped by the thick intensive and malicious energy aligned to predatory passion of Destroy the World of Men. A wall of sonic argument to buckle knees, it is punctuated with tenacious heavy swipes from Mitchell which again add that something extra and distinct to set the track apart from its companions and other genre crossing protagonists.

The stringent force of Lament sears ears and senses next with forty seconds of primal antisocial bitterness before the melancholic acrimonious prowl of Gloom infest thoughts and emotions. With a sludge air to its pestilential intent and cavernous resonance, the track is a labour intensive proposition and an intimidating long term engagement which though presenting a longer confrontation than most on the release at over two minutes flies by with its corruptive tsunami of sound and intensity.

The Fever of Feeling launches a thunderous stride of riled rhythms and desperately rapacious riffs under the scorching squalls of DeBruin, its furnace a bestial but addictive bait to devour greedily before being succeeded by the acerbic and senses battering weight of Empty. Less gripping than others but as potent in consuming thoughts with its provocative intent and scarring raw sonic scalding, the track is a satisfying rub soon surpassed by the thirty second crippling assault of The Body System. It is an intriguing almost mesmeric flow of sonic lava veined with distorted melodic invention which just re-ignites the passions.

Final track The Other Side of Despair is a virulent contagion of abrasing riffs and predatory slow rhythms around a delicious flesh burning groove and brawling chords. It is a bewitching acidic maelstrom presented in a calm but no less furiously passionate way than elsewhere. It also steals best song honours with ease and leaves the listener with an even greedier appetite for Flesh Born.

Han is a riveting and thoroughly satisfying encounter showing its creators as a band with the potential and craft to rise to major heights at some point ahead. Right now though, Flesh born has given us a release which takes its toll on the emotions but rewards with a highly enjoyable outrage.

The Han EP is available on 12” vinyl via Skeletal Lightning now @ http://www.skeletallightning.net/products/526535-flesh-born-han-12

https://www.facebook.com/fleshborn

8/10

RingMaster 24/06/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

‘GENERATION GRAVEYARD’ are Lonewolves, on 21st July‏

Generation Graveyard Online Promo Shot

LONDON NOISE CHIEFS GENERATION GRAVEYARD RELEASE DEBUT EP!

 

Hotly-tipped UK metal punks ‘Generation Graveyard’ are poised to break out to the nation with their blistering new EP ‘Lonewolves’, which hits stores on Monday 21st July.

Inspired by urban isolation, an outcast lifestyle and social upheaval, Generation Graveyard are candid and straightforward, refusing to bite their tongues and be pigeon-holed. With a vast cross-section of influences stemming from hardcore, old school rock n roll, black metal and crust delivered with a vicious punk venom, Generation Graveyard have established themselves as the antithesis to the UK music’s current alternative scene.

 

Conceived at the end of 2009 and hailing from London, Generation Graveyard are 100% committed to the execution and creation of their craft. Through widespread gigging and intense rehearsing, the rising five-some have finely tuned their live show, which has led to them being selected for support slots with names such as The Misfits, Anti-Nowhere League, The 69 Eyes, Breed77, Black Breath, Viking Skull, Warrior Soul and The Defiled. The Londoners have also recently successfully supported Breed77 on their full UK tour.

 

Now the stage is set for the lively noiseniks to firmly stamp their mark on the UK scene and they have the ammunition in the shape of their new EP ‘Lonewolves’. The record bursts out of the blocks with the pounding openings of ‘Abominate/Desolate’ which goes right for the jugular and it’s a real introduction to what’s ahead. The blistering punk rock fury of ‘Human Hive’ is next up, as it attacks your senses at breakneck speed. The stout ballsy vigour of ‘The Empty’ continues in supreme vein before the vibe shifts with the industrial guile of ‘Deletist’. The record closes with the anthemic and down-right fantastical ‘Lonewolves’. Miss this band at your peril!

Generation Graveyard - Lonewolves EP cover

-GENERATION GRAVEYARD UNLEASH ‘LONEWOLVES’ THROUGH ALL STORES ON MONDAY 21st JULY-

https://www.facebook.com/GENGRAVE

Architect Of Disease – Open The Hearts

ArchitectOfDisease-OpenTheHearts

Uncompromising and ravenously intrusive, Open the Hearts the first album from Polish black metallers Architect of Disease is an incitement which without firing up the passions to the fullest blaze is a compelling and inventive examination of the senses. A web of melodic toxicity and sonic voracity within oppressive and blackened emotive atmospheres permeates ears and beyond across the seven track length of the release, making for an intimidating and captivating tempest of sound and intent. It is not always an easy listen or is able to grip the imagination with the same tenacity throughout but Open The Hearts is an album which heavily pleases and persistently lures attention back to its skilful persuasion.

Coming out of Łódź, Architect Of Disease emerged at the tail of 2011, rising from the demise of Iugulatus when vocalist Balrog left the band. The rest of the band decided to carry on but with a new name. 2012 saw them enter the studio to record Open The Hearts with new vocalist Wilku alongside guitarists Markiz and Matys, bassist Morbid M., and drummer Wojtass. Since the recording Wojtass has left the band to be replaced by Michal whilst the album itself marks Architect Of Disease out as deserving plenty of attention.

The release opens with Leviathan Prayer, an immediately rigorous charging encounter with sinewed crafted riffs and equally imposing rhythms. As hoarsely throated raw vocals enter the scene, the song takes a step back in its gait to venture into more of a prowl. It is a momentary thing though as the track soon pushes its accelerator again before seamlessly entwining both attacks across its remaining exacting body. The rhythmic work of Wojtass impresses as forcibly as the rich designs cast by the guitars, both enslaving attention upon which the less accessible but ultimately persuasive vocals squall venomously. It is a dramatic and gripping start swiftly built upon by Bones Regime, its ferocious opening a searing provocation for ears and emotions. There are similarities between the track and its predecessor in its structure and its incitement of certainly riffs and drums, something which across the album is a tempering defusing of the invention otherwise sculpted, but it cannot prevent the track from setting a new plateau for the enthralling encounter.

Both In the Blaze of Havoc and Without Divine Intervention roar and abrase with voracious animosity and virulent hostility, the first of the two unveiling its predation through bewitching sonic strands of endeavour and a similarly contagious core groove within a blistering ferocity. Its successor brings a heavier heavy metal vehemence to bear on ears as it launches its presence straight at the jugular. With a vitriolic groove and raging vocals, the song soon has a vindictive swagger and stride to its resourceful savagery with the bass a gloriously testy and dark throated instigator. The best track on the album, it stomps and stalks with bestial intent and muscular rabidity whilst showing more of the individual skills of the band members, their songwriting, and the potential still to be fully tapped.

The title track lacks the impact and addictive nature of the previous triumph but still makes for a riveting violation with its melodic weaves and ill-tempered fury especially the evocative slip into an atmospheric peace mid-way which is subsequently smothered by the rabid heart and assault of the song. The track leaves on an inhospitable but magnetic climax which is followed by the merciless and surly Rejection of the World, another track which arguably does not give enough diversity within itself and against other tracks but nevertheless makes for a rough-handling potent temptation.

The fifteen minute plus Devour the Sun brings the release to a potent conclusion. The song is a crawling pestilence which malevolently embraces every thought and emotion, slowly seducing and consuming their hope with its depressive intensity and malignant heart. It is too long to enslave personal attention throughout but when it does the track is an absorbing rancor which again impressively provides a portrait of the band’s skills, imagination, and promise.

Open the Hearts has plenty to feed the wants of all black and melodic extreme metal fans. It may not be an album to set the passions into overload but it is easily a deeply enjoyable release to mark Architect of Disease out as a band to watch very closely.

Open the Hearts is available via The End of Time Records now!

https://www.facebook.com/pages/Architect-Of-Disease/425689324215174

8/10

RingMaster 06/06/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Deep Desolation – Rites Of Blasphemy

DD

Casting a captivating web of sludge and doom drenched black metal ripe with fiery psychedelic grooves Polish metallers Deep Desolation make a very convincing argument for turning to the dark side with latest album Rites Of Blasphemy. The release is a venomous yet irrepressibly magnetic soundscape to a blasphemous occult driven world, an encounter which as the greatest evils has an irresistibility which says all is well as it infests with ruinous intent. It is not always a kind listen though and carries a few niggles which stops it making and even greater impact but from start to finish, Rites Of Blasphemy makes for a compelling and potential soaked enjoyment.

Hailing from Łódź, Deep Desolation was formed in 2009 and within a year creating their debut album. Released via Quid Est Veritas Productions/The End Of Time Records in the February of 2011, Subliminal Visions made for a formidable introduction to the band and its sound. A line-up change followed before the band provided two tracks for the split release Chapel of Fear with fellow countrymen Primal and Iugulatus that same year. From there the quartet of vocalist/guitarist Meriath, guitarist/vocalist Markiz, bassist Piorun, and drummer Wilku, set about working on their second album, a release which steals attention from the outset, never relinquishing its grip until the last note of its demonic fascination.

Rites Of Blasphemy opens with the epic persuasion of Between the Tits of a Witch. From a sinister landscape of disturbing DD coverwhispers within an intimidation ambience, thick predatory riffs and ravenous rhythms seize senses and thoughts as rasping venom fuelled vocals slowly squall over their brewing toxicity. It is an instantly striking and appealing mix which flirts wantonly as it worms around and into the psyche. Acidically sculpted grooves add to the captivating bait, their touch and enticement fiery as they sear air and ears with inventive design. Within the caustic beauty and at times seductive enterprise, there is a threatening underbelly of rabid shadows and merciless malevolence working away led by the raw vocal spite. All combined, the track makes an excellent beginning to the album, a constant trigger for the imagination to erupt from but it does push the limits of its stay at almost ten minutes in length with no major deviations in its concentrated languid prowl.

The following Searching for Yesterday emerges from a potent heavy metal coaxing into a darker rapacious but no less gripping provocation. Riffs and rhythms all carry a heavier intensive weight and throat to their attack and sound, as does the malice seeping vocals, though this is tempered by the spiteful grooves and great individual endeavour of the guitarists. The track has a bestial breathe to its body which is accentuated by the distressing landscape of the instrumental Intermezzo. The piece is a demonic insight into the stomach of hell, a maelstrom of lost souls and suffering sounds which is quite mesmeric and provocative before it leads to the doorway into Blasphemous Rite. Rich transfixing grooves entwine around ears as riffs, aligned to thumping and agreeably challenging rhythms, heavily consume the senses. The song as the album prowls and preys on senses and emotions, a creative predator happy to skirt around and intimidate its victim with riveting lures of sonic adventure and intrusive melodic toxins. Like many of the tracks and again fair to say the release itself, the encounter does not ignite and burn as ferociously as you hope and expect but that cannot prevent it making a sizeable impression and deeply satisfying proposition.

The expansive length and weight of Mroczny Hymn comes next and though it also outstays its effective suasion at over eleven minutes, the track does not fail in taking thoughts and emotions on an intrusive and in many ways a cinematically expressive journey which excites the imagination. The guitar craft is especially inciting and impressive within the tempestuous soundscape, as is the rhythmic stalking, but it cannot prevent the track losing its richest hold on attention more than once across the length of time it engages the ear.

Cuius Regio / Eius Religio offers an almost insidious tone and menace through vocals and the venom infused grooves and hooks which wind around the raw caustic rage of riffs and the just as exacting rhythms. The song’s thrilling slightly pestilential call is swiftly backed up by I Became Your God, a track from the start encroaching on ears with great abrasing ravenous riffs which are soon in league with devious grooves. The track moves through evolving gaits and changing strengths of rabidity as it hunts down emotions for just one more commanding pleasure.

The album closes with the exhaustive weight and predatory oppressiveness of Necromouth, a final track impressing whilst confirming the craft and might of the band’s songwriting and invention. With essences of bands such as Cathedral, Pentagram, and Carpathian Forest to their sound, Deep Desolation is a band fans of sludge, doom, and extreme metal should definitely be checking out.

Rites Of Blasphemy is available via Darkzone Productions now!

https://www.facebook.com/deepdesolation

8/10

RingMaster 06/06/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com