Unmothered – U M B R A

Unmothered_Reputation Radio/RingMaster Review

U M B R A is a predator soaked in doom and sludge but equally draped with essences of black metal, noise, stoner rock, and most likely any other voracious flavour you can imagine. It is also one of the most primal and inventively addictive things heard so far in 2015. The new carnivorous proposition from US band Unmothered, the three track EP proposition brawls through ears, violates the senses, and scars the psyche from start to finish, all the time igniting the passions with its fierce turbulence. There is no escape once it takes hold but no desire to flee its uncompromising trespass either.

Starting their raucous prowl of the senses in 2010, the Austin hailing Unmothered unleashed their self-titled debut EP vinyl in 2012 to acclaiming responses across the underground scene. It brought seven atmospherically ravenous and physically cavernous landscapes to feast on the senses, laying the seeds for the even darker and in many ways more intimate intrusions to be found within the insidious temptation of U M B R A.

cover_ Reputation Radio/RingMaster Review    As its predecessor, the EP is wrapped in the artwork of UK artist Andrew Sloan, its dark toning and organic imagery a first glimpse of the creative tapestry and sonic exploration set to seduce ears and beyond. Opener Magnetar rubs ears with a lone riff to begin within but swiftly revolves and broadens into a predatory canter of imposing rhythms from drummer Matt Moulis and dark throaty bait courtesy of Joseph Barnes’ bass, both entwined in the just as gripping sonic tenacity of guitarist Matt Walker. Alone each sculpts pure drama but together they make aural pestilence whilst additionally conjuring a groove which no matter where it leads or what it twists itself into, is an unrelenting seducing within the carnal ambience and textures around it. The pestilential tones of Walker’s vocals crawl into the psyche too as they hitch a ride on the increasingly contagious grooving and tsunami like hostility swinging its way to the same destination.

If the swagger of the first song is incendiary and contagious, it is light weight compared to that of Scarp and before it Huntress. The second song scythes through ears on a sonic lure before thickening its bait within a musty swamp of noise. It is only building towards the point of greater addictive enterprise though, another flaming acidic groove with a waspish nature flirting within ears as guitars and drums spin a magnetic enslaving web. Equipped with gnarly bass tones which simply inflame the senses, the song offers whispers of bands like Ministry and Morkobot, though equally you would suggest Unsane or a Today is the Day, as many do, as a hint to the ravaging being enjoyed. The track is irresistible, a disembowelling of the senses with riveting rewards in return but quickly over shadowed by the final song.

Scarp from its first breath is a torrent of sonic nagging, Walker’s guitar a primal bee in the psyche which is rapidly matched in primeval temptation by the roguish swipes of Moulis and the throaty dissent of bass. A rhythmic and sonic virulence does not let up even as the raw tones of Walker spill their new narrative of aggression and his guitar skirts over the Killing Joke like rhythmic spine with its caustic and corrosive enterprise. A post rock like calm embraces ears midway through to wrong-foot and bewitch, the drums continuing to roll out a mouth-watering and unrelenting niggle of anthemic beats throughout. It is a mesmeric and meditative passage yet in its air, lurking in the shadows there is an intimidation and menace which bides its time before exploding in one hellacious climax of one outstanding incitement.

The track is a brilliant; a gripping end to a glorious slab of noise fuelled contagion posing as U M B R A. Letting greed have its say there is no doubting that the EP is over too soon but with the adage ‘leave them wanting more’ surely in its thoughts, U M B R A and Unmothered have opened up a vat of anticipation for something bigger and you suspect even more threateningly bolder.

U M B R A is available from May 26th via Crowquill Records. For details see http://crowquillrecords.limitedrun.com/artists/unmothered

http://unmothered.com/   https://www.facebook.com/Unmothered

RingMaster 26/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Cemetery Dust – To rule them all


They might have two well-received and praised albums under their belt, but Austrian metallers Cemetery Dust is probably still an unknown property in the main thrust of the metal scene. That might and should be about to change with the release of To rule them all. The band’s third album is an antagonistic and compelling maelstrom of old school thrash and death metal which is also equipped with the contagious grooving of modern metal. It is a roar of old and new, an encounter familiar yet simultaneously fresh, and though it might not take its creators to the top table of the global metal scene it will forcibly slap the face of widespread attention.

Hailing from Braunau am Inn, Cemetery Dust began in 2005 and quickly stirred up strong local support. Debut album Power of the Hypocrite was unleashed in 2008 and with its persuasive blend of metal furies set the basis for the band’s sound as their presence began to spread. Its successor An Anatomy of War followed in 2012 and showed another creative and aural leap in the band’s creativity, a step emulated again in To rule them all with even greater maturity in songwriting and craft. Released via Metal Music Austria, it is a furious and intimidating proposition yet every assault and incitement posing as a song is veined by a seductive and unpredictable lure.

The album opens with the mesmeric calm and beauty of Proelium Elementorum, an instrumental track which transfixes ears and imagination without giving any hint of the onslaught to come. It has no portentous air or intimidation to it of any kind, just a weave of elegant guitar play and melodic temptation. In many ways it is at odds with what follows as even the calm before the storm has essences of turbulence in its air but here the alluring opener just seduces before being pushed aside by the tempestuous might of Souls Come Undone. Riffs and rhythms are an instant ravaging of ears ridden by the equally caustic and hostile tones of Philipp Forster. There is no escape from its intensity and raging but it comes with a great tempering of guitar enterprise from Forster and Christoph Steinlechner, grooves and sonic flames a rich and incendiary spilling invention and infectiousness. The merciless attack of drummer Rupert Sonnleitner equally has catchiness to its trespass on the senses, though everything ultimately ignites as one hellacious tempting.

a2428907815_10     The following Bleed for the Machine is the same, uncompromising in its thrash bred riffery and death seeded sonic malevolence but irresistible in grooves and unpredictability. The bass of Benjamin Jensen snarls and groans wonderfully within the song, its presence as bestial as it is magnetically varied, whilst the guitars flirt and scorch ears with their own imaginative designs. The track is fascinating, the first of the most inventive and creatively diverse offerings on the release before seeping into samples of ‘apocalyptic’ news reports which in turn lead into the might of The Great Isolation. The fourth song on To rule them all, with an agitated opening and inviting shuffle, draws on a hardcore squalling of voice and sound before infusing it into another fierce thrash spawned provocation. As suggested earlier, there is a familiarity which comes with certain moments and songs, not always exactly definable but recognisable within styles, but as here it is potently honed into something new and inventive. Once more Forster and Steinlechner have ears and thoughts riveted with their simple riffs driven ravaging but more so through strands of sonic ingenuity. Hooks seduce and grooves bind but the whole melodic enterprise from their imagination is what borders on sonic poetry.

     Tiger, Dragon and Snake is a stalking beast from its first breath, swiftly turning its prowl into a senses scavenging hostility disguised with toxic grooves and heavily swinging rhythms whilst Cloak of Blood next, and in deed the following The Blind King, show themselves to be even more severe predators. The first of this pair is especially inescapable, every riff and beat an intrusive beckoning over which coarse vocals scowl and guitars dangle addiction forging incitements, some with a classic metal spicing. Its successor is equally as adept in enthralling ears and thoughts with an evolving tirade of inventive bait, though demanding a more intensive attention than its infection spewing predecessor.

The hefty offerings of Monument of Hate and its title track brings To rule them all to an impressive close. The first of the two spins a fearsome and engaging web around Jensen’s menacingly alluring basslines, creating a canvas of exotic and corrosive predation in sound and intensity. As all songs there is constantly shifting scenery to the landscape; a seamless and masterful shifting which is never less than aggressively savage. The final song is more of the same in design and character whilst carrying its own distinct guise, though there are moments across the album where tracks do have a similar presence if not ever enough to disturb the potency and impressiveness of the release.

It is hard to imagine Cemetery Dust being an unknown quantity from hereon in because of To rule them all alone. It is a release to awaken new spotlights on and appetites for the band’s invigorating sound and its blazing adventure, one all extreme metal fans should make themselves aware of at the very least..

To rule them all is available now via Metal Music Austria digitally and on CD @ http://metalmusicaustria.bandcamp.com/album/to-rule-them-all


RingMaster 30/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Pavillon Rouge – Legio Axis Ka

Photo Groupe

If there were still to be active dance floors after the apocalypse then the new album from French industrial metallers Pavillon Rouge would be the perfect fit for the dark mood and decayed energy it assumedly would possess. A fusion of black metal with industrial/techno bred voracity, the band’s sound and second full-length Legio Axis Ka, make for an erosive and ravenous affair but with a contagion which never leaves the body to simply bask in pestilential depths, dictating its movement across nine pulsating predatory tracks. The accompanying press release also states that their sound and intent explores ethereal 80s new wave atmospheres, and though not always as immediate within the tempests there are elements of the dark wave scene of that era pervading their latest release, scents of bands like The Chameleons, Joy Division, and Pink Industry offering themselves to thoughts. Ultimately though, Pavillon Rouge casts a sound which has its own distinct presence and an album in Legio Axis Ka which constantly and aggressively stimulates ears and imagination.

The band was formed in 2008 by musicians Mervyn and YVH, with the intent to merge black metal with hardcore techno. Highly acclaimed debut album Solmeth Pervitine was released in 2011 and was soon declared one of the best industrial black metal albums. It was followed by shows for the band with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK, supporting the album and pushing forward their increasing attention grabbing emergence. Recently signed with Dooweet Records, the quintet of vocalist Kra Cillag, guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer Sorthei, and guitarist/programmer Mervyn now return with their second onslaught on the senses. Released on the Swamp Records side of Dooweet, Legio Axis Ka is a vicious seduction, a mesmeric violation which however you want to look at it, leaves the senses raw and emotions entangled in its increasingly magnetic tempest.

10347166_793523130703256_1060036933092637261_n   An immediate embrace of synth beauty amidst an evocative ambience immerses ears as album opener Prisme vers l’odyssée shows its introduction, a potent and atmospheric lure which is soon consumed by a thunderous tirade of rhythms and rabid riffs. Vocally too the song offers a merciless and diverse squall yet within it all the keys continue to cast a provocative and emotionally expressive voice. That industrial element is a nagging incitement within the evolving theatre of guitars and keys too, keeping feet and body agitated as the heart of the track spills its venomous and caustically poetic premise. Lyrically the album is sung in the band’s native tongue so there is little to its obviously dark climate that we can reveal but if the words and premises match the passion of the delivery then it is a brooding exploration just as potent as the sounds around them.

The following L’enfer se souvient, l’enfer sait takes the strong start up another step with its muscular rhythms and riff clad prowling wrapped in an electro hued colouring. The dynamic and persistent techno bred heartbeat of the song again has limbs on alert whilst thoughts and emotions are entangled in the melodic and vocal imagination lighting up the abrasing atmosphere of the song. Track and album definitely need close attention and several plays to unveil all the underlying twists and creative nuances within inhospitable surface and murky air, but it only adds to the satisfaction and drama of the stark, almost visual soundscapes sculpted.

Mars stella patria does not hang about tempting the listener either, electronic percussion and anthemic band roars immediate virulent bait. Their infectiousness seems to seep into the industrial climate, which offers warped noise and textures, as well as the chilled melodic enterprise adding its weight to the song’s persuasion. It is an endeavour spiced with a touch of Sisters Of Mercy and Bauhaus, and as the track continues with open clarity around its warmer elements, shadows impose upon and the raw vocals prey on the senses. It is fair to say that each song individually brings a new step up in the presence and persuasion of Legio Axis Ka, this one with its increasing rabid turbulence another strong step in its ascent, a compelling move almost matched by the mercilessly tempestuous storm of A l’univers. Electro pulses resonate through bone and psyche from the off, enticing feet and emotions to lend their eager energies to its call whilst the melodic and sonic invention of the band provides a ravenous celestial and dirty terrestrial landscape for ears and emotions. Not as instant as its predecessor, the song subsequently wins over appetite and thoughts whilst revealing more of the inventive ideation and songwriting craft of Pavillon Rouge.

Both Aurore et Nemesis and Droge Macht Frei enthral and enslave, the first laying down its first potent tempting through a delicious dark bassline before brewing up a sonic and emotional tsunami of ferocious ire and intensity. Its successor provides the first truly insatiable full-on invitation to unleash the dance floor moves, its rhythmic stomp a pulsating infection which leads and drives the song even when enveloped in rabid smog of noise and sonic rapacity. As ever there is much more to the songs and both engross with melodic ingenuity and the often understated but open imagination which brings striking contrasts and unpredictability to all offerings on the album.

From a raucous stomp Pavillon Rouge offer a celestial flight with Kosmos Ethikos, synths and samples aligning for an atmospheric exploration with a big brother like edge to its air before Notre paradis takes its own similarly seeded soar through a new spatial climate. There is a much darker feel and texture to the track compared to the last though, an ominous breath which coats guitars and vocals, not forgetting intimidating rhythms, as keys warmly and eloquently swarm around the senses. The pair offers their own sparking new adventures for the imagination to interpret before the closing Klux santur provides a transfixing finale to the album. With the most distinct eighties feel to its body and melodic enterprise yet, the track is a swirling maelstrom of light and emotional malevolence. It is a cyclonic treat to close things up, a seducing and senses ravishing end to an album which increasingly enthrals given time and attention.

The Grenoble based Pavillon Rouge have not offered an easily accessible proposal with Legio Axis Ka but who wants easy when far greater rewards come with uncompromising intensity and evolving creative assaults. The band finds the perfect blend of industrial and black metal fury for a proposition which fans of either genre should seriously contemplate.

Legio Axis Ka is available now via Swamp Records @ http://findiemerch.com/fr/pavillon-rouge-legio-axis-ka/#

https://www.facebook.com/LuxDiscipline   http://www.luxdiscipline.com

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net


Ignotum – Larvas Mortal God


Linking up with the Ronin Agency not so long ago, Italian black/death metallers Ignotum recently released debut album Larvas Mortal God and from a strong first impression, it is a release which grabs the imagination to impress more and more with every listen. On the surface the album is an enjoyable and accomplished proposition but it is with time that is reveals its own unique character of sound and creative textures to stand out from the crowd. Whether it will emerge as a major favourite is to be seen but already the album is a temptation enticing us back again and again.

The Como band was formed in 2011 by guitarist Fabio Guereschi and seemingly made swift and strong impressions on the local scene, widening that awareness and support with the release of a well-received self-titled EP in 2013. Recorded and released as last year closed its eyes, Larvas Mortal God is the first major nudge on the strongest spotlights from the band, and one easy to see making Ignotum a wider known and thought of incitement in the extreme metal scene.

The release starts with Through Madness Reminiscience and instantly is a sonic tirade on the senses, riffs and rhythms a merciless torrent but with that hostility tempered by spirally and instantly alluring grooves. The raw and coarsely expressive vocal squalls of Marco Capuzzo lay aggressively on ears but with just enough variety to make them adventurous and as magnetic as the tempestuous sounds brewing around him whilst the driving and evolving guitar enterprise of Guereschi and Luca Borghesi (no longer with the band), spins a captivating web matched by the formidable rhythmic collusion of bassist Stefano Zarantonello and drummer Federico Mascetti. As mentioned about the album, the song makes an appealing first touch on ears straight away but it is with time and attention that the nuances and at times less vocal invention reveals itself for greater reaction and pleasure.

COVER   The potent start continues with Soul’s Self Mutilation. Its atmospheric synth crafted opening is a stark contrast to the roar of its predecessor but it too it soon raging with aggression and passion. The repetitive nature of grooves and rhythms entice from within the sonic intensity swirling venomously around the landscape of the track, whilst again melodies and colourful creative hooks bring a refreshing and sparkling hue to the imposing storm. It is an inventive blend fuelling all the songs upon Larvas Mortal God but apart from at times a surface familiarity flowing over the release, it never smothers the individual definition and character of tracks like the following Inhale The Void and in turn The Circles’ Kiss. The first of the two immerses the senses in a blackened trespass and though it lacks the spark of its predecessors, imagination and craft ensures it is an evocative encounter before its successor uncages its own oppressive canvas of almost portentous sound and vocal snarling. It is the physical and emotive voracity which is missing in the first of the pair but back stoking the raging fire of the second and seemingly sparking greater toxicity in the sinew swung rhythms and scorching grooves veining the song.

Mary L. equally confronts the senses with a fiercer almost corrosive persuasion, one soaked in acidic sonic endeavour and provocative melodies. The song merges hostile and seductive scenery with a fluid and captivating prowess, flowing from one to the other and back again with ears enthralled. Despite its mighty offering though it is soon over shadowed by the outstanding Abyss, You Shine. The opening tangle of melodies and grooves around a contagious rhythmic tempting is enough to spark new hunger in the appetite. Again the band twist raw aggressive dexterity and intensity with mellow and entrancing seductions, one never overpowering the other and always creating a seamless passage of fascination and thorough enjoyment.

The album’s pinnacle is followed firstly by the more rabid but controlled turbulence and emotive mania of In Skinless Dream and then the atmospherically fiery and raucously trespassing Hecatomb Memories. The second of the pair is arguably the lightest on the album with an open progressive infectiousness which almost demands to be liked. Not quite carrying a poppy texture in its make-up but certainly, despite an increasing rhythmic and vocal ferocity to its climax, there is something more easily accessible to the track than in those before. Both songs ignite ears and thoughts masterfully before the closing Clown With Crown ensures the album leaves on another unhealthy and appealing slab of aural savagery and sonic venom, which you may not be blown away by but certainly will easily develop an increasing urge to explore more of, just as the album.

Produced by Luca Briccola, Larvas Mortal God is an impressive proper introduction to Ignotum, not a release to set a fire burning but easily potent enough to put the band on the map and given time to become a constant lure for repeat attention.

Larvas Mortal God is available now via Mentalchemy Records from most online stores

http://www.ignotum.it/   https://www.facebook.com/IgnotumItaly

RingMaster 12/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/





Éohum – Revelations, Aurora of An Epoch



The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch


RingMaster 09/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Wrathage – Discipline


Seventeen years or so after their emergence, and three of those years in the making, the debut album from Finnish metallers Wrathage is a proposition which no matter how it initially takes you, leaves a compulsion to explore more and more of its ultimately enjoyable depths. Discipline is a striking and increasingly thrilling slab of dark extreme metal, a collusion of black and death metal predation and ferocity embracing an avant-garde and experimental nature. It is not always as successful with personal tastes as it is other times but when it hits the sweet spot, which are numerous, the album is one of the most intriguing and exciting propositions heard this year.

Wrathage began way back in 1997, formed by identical twins Scythe (bass, vocals, guitars) and D.V Grim (vocals, guitars). With only the intent of creating music which lit their own fires, the band has gone through numerous line-up changes, especially early on, whilst exploring and honing an ever evolving sound. A self-titled demo in 2000 was the first of three over the next five years whilst 2008 saw the release of the well-received Crawlspace Antipathy EP. The gap to its successor and first album has again been a long time waiting but now with Scythe and D.V Grim joined by guitarists H-beast and Viha, keyboardist Tero Nevala, and drummer Kuismahc, the Oulu band is poised to ignite highly anticipating appetites and a horde of newcomers with their enthralling offering.

Wrathage_2015_discipline_Cover     As soon as opener Dark matter engulfs ears, thoughts of Emperor and Morbid Angel come to the fore, yet equally a fresh individualism in presence and sound too. The song opens with epic sways of guitar around dramatic vocals, a mix soon immersed in a wash of equally theatrical keys and heavily jabbing beats. It is an attention grabbing start, a respectful one too as every element from guitar to keys, voice to rhythms create imposing but restrained proposals on the senses. Of course it is a thought too soon as within moments the factors collude to create a rapacious tempest of sound and intensity. The song proceeds to entwine classical and blackened enterprise with predatory ferocity, twisting and lurching through a fascinating and enticingly turbulent landscape of invention.

The following Born girt for war blends a ravaging hostility with a broader celestial atmosphere whilst also providing a more intimate stalking at times. Within its first half minute the song is already an unpredictable theatre of textures and sounds driven by the equally dramatic and enjoyable mix of vocals, which include a guest appearance by Catamenia frontman Olli “Oujee” Mustonen. The underlying persistent prowl of the song keeps everything on course before Of the great chief comes in on an opening blaze of guitar endeavour within a sinister climate. As the previous track, it does not make the same impact as the first song but every turn, every twist in its body brings further bait for ears and appetite to keenly devour, especially its rhythmic enticing.

The album truly comes to life from fourth song Walking to death; it is like Discipline has sized up personal tastes and then gone to work on instinctive wants and pleasures. The track marches in on a horde of synchronised boots, vocals swiftly leading the way with equally imposing intent. They are soon joined by a web of sonic ideation which alone ignites the imagination, whilst the broader melodic sweep of keys only enhances the addictiveness veining the song. It is a masterful enslavement which only tightens its grip with a slip into an almost carnal landscape of dark drama caged by an excellent bestial bassline. Riffs equally have an animalistic snarl to their touch, and a raw tang which reminds of Scottish band Skids. It is an inescapable anthem matched by the exceptional Unslaved, which also sees Mustonen guesting. Celestial keys caress ears first, their ethereal theatre tantalising but barely hinting at the temptation to come. A vocal lure bridges the start with the mouth-watering and grizzly bassline which follows; this the spark to an infection of hungry riffs, antagonistic rhythms, and bad blooded vocals. It is the magnetic swagger and blood thirsty character of the grooves which provide the fuse to the strongest ardour, their infection intertwined with the spiteful provocation elsewhere.

Distortion sees another guest in the shape of Khaos from Deathchain & Deathbound within its midst, and also sparks a new urge of greed for the release with its carnivorous presence and contagiously creative rancor. Once again expectations are given a cold shoulder as the track explores death and blackened scenery with thrash bred ferocity and a hellacious attitude of sound and invention. There is never time to catch a breath upon Discipline, but one is needed after the torrential hostility and intensity of the excellent encounter. A quick gulp those is all that is allowed as the insidious scavenger Reptilian crawls over the senses and into the psyche with primal and sonic animosity. It is great toxic incitement, its rhythmic and driving riffery an insatiable onslaught but above it guitars and keys are almost flirting with slow and devilish seduction.

After a vocal enticement, Sadicum is an erosive sonic tempest which alone would satisfy if lacking the spark of its predecessors, but the band is soon spearing it with shards of melodic spicing and a persistently evolving and enthralling weave of progressive fuelled keys to create another tasty assault. The song is still more of a smoulder on the passions than a roar like other tracks, but a lively simmering pot of adventure which over time brings thoughts and appetite to the boil very nicely and hankering for more.

The album concludes with firstly The crawlspace, a bordering on psychotic smog of sound and enterprise which is as suffocating as it is explosive on the senses. Some of the vocals are less successful on the ear but a mere blip in another pleasing track before the band brings it all to a close with a cover of the Morbid Angel track Dawn of the angry. It is a very decent and enjoyable offering but the meat and major joy of Discipline is in the band’s own slices of distinctive predation.

Discipline gets better and more revealing with every listen, even a handful plus of plays unveiling fresh elements and greater craft in the creative flow and sculpting of the release. As mentioned some moments create a bigger blaze in the emotions but from start to finish Wrathage has delivered one impressive encounter to revel in and to heartily recommend.

Discipline is available from March 30th via Maa Productions and at http://wrathage.bandcamp.com/album/discipline


RingMaster 30/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/


Mortals/Repellers – Split 7”


Offering the year another rather tasty split, Broken Limbs Recordings have brought together Brooklyn’s Mortals and Philadelphia’s Repellers for a four track explosion of fresh breathed metal. It is an encounter with reinforces the potent stature of one band and inflames the emerging presence of the other, both beginning what potentially can be a massive year for them in fine style.

The first offering comes from Mortals, a band formed in 2009 but with its seeds possibly growing well before then when drummer Caryn Havlik and bassist/vocalist Lesley Wolf met and played together in all-female Slayer cover band Slaywhore. At the same time Havlik and guitarist Elizabeth Cline were playing in a math-rock project. After the eventual demise of both bands, the three musicians regrouped as Mortals and by late 2010 had set about making a potent mark on the local metal scene and further afield. A tour with Mutilation Rites was the prelude to the band sharing stages with the likes of Eyehategod, The Body, False, Samothrace, Black Anvil, Toxic Holocaust, Howl and Lord Dying over the years, whilst the release of their Death Ritual EP in 2012 led the band to signing with Relapse Records and the release of their acclaimed Cursed to See the Future album last year. Ahead of a European tour with Skeletonwitch and Goatwhore, Mortals now fire up the imagination and EP with their lone but thrilling track 10 Years of Filth.

Possibly a statement on their stirring musical career to date, the song swiftly brews and smoulders with the intensive and darkly seductive blackened sludgy sound which Mortals are already Mortals_bandshotmarked for. Within as many seconds, the bass is roaming ears and psyche like an apocalypse gracing charger, striding with predatory intent as grooves and riffs combine for a nest of viperish intent. Similarly lively rhythms from the drums prowl and stroll across this already bewitching landscape, the seductive and melodically dynamic adventure one scene in a rich drama clad tapestry of dark intent and compelling intimidation. For all its predacious craft and hunger, there is an infectious charm to the track too, light and dark challenging each other whilst colluding in the creation of even more provocative hues in the tempestuous narrative. The dark side is driven by the guttural scowls and gothic animosity of the vocals whilst the guitar’s enterprise escorts lighter defiant elements which persist in their persistence until the ferociously boiling and venomous climax of the song. It is an enthralling and ruggedly enjoyable nine minutes easily confirming the impressive qualities and sound of Mortals.

Repellers bring three tracks from their creative arsenal of punk and crust infused metal, swiftly showing why there is a growing broader interest in the 2012 forming band. The two years or so since their arrival has seen the trio release The Coming Storm EP, partake in a split 7” with Georgia-based Dead Hand, and the drawing of multitudes of new fans through tours along the east coast and a constant source of impressive energetic shows. They are a growing force it seems and on the evidence of this release an exciting one.

Repellers   Descend is their first offering, a track which from a melancholic and darkly lit melodic embrace erupts in a predatory and thunderous stalking of the senses. The intensive rhythms of drummer Tony Secreto are vindictive in nature whilst the equally primal basslines of Rob Petraitis growl and leer intimidatingly within the doom drenched atmosphere of the imposing encounter. The guitar of Jon Rifenburg brings various shades of intimidation and temptation to the volatile but controlled tempest too, his enterprise equally sculpting a web of magnetic lures around the malevolently toned vocals. It is a captivating proposition which awakens intrigue and interest in the band before their second song From Jerico to Ai lays a more fascinating and thrilling invitation down. Bass hooks are aligned to acidic guitar grooves, it a mesh of enticement which continues to spear the increasingly ravenous atmosphere and character of the track. Heading only to a turbulent and hostile climax, the track is a riveting persuasion showing more of the depth and imagination in the band’s song writing and sound.

   False Solace is the same, its heavy melodic lures an initial tantalising coaxing which only seeds a subsequent hellacious hardcore bred brawl with the senses. The blackened, almost insidious tones of the vocals unleashes the dark heart of the song whilst the sonic grooves and bass predation provides infectious bait which seduces ears as the track’s lyrical and vocal trespass avail their toxicity.

The two bands make for a pleasing and exciting union with their quartet of thickly satisfying propositions, each confirming their impressive potency and potential. Both have only enhanced their reputation and relative statures whilst already sparking 2015 into being an attention grabbing year for them.

The Mortals/ Repellers Split is available through Broken Limbs Recordings and limited to 500 10″ copies (300 black and 200 red with black smoke).

https://www.facebook.com/mortalstheband   https://www.facebook.com/repellers

Mortals’ Upcoming tour dates:

April 4 – May 2 European tour w/ Skeletonwitch and Goatwhore

04.04.15 Sweden Motala @ Kulturakademin

06.04.15 Denmark Copenhagen @ Pumpehuset

07.04.15 Germany Hamburg @ Hafenklang

08.04.15 Germany Osnabrück @ Bastard Club

09.04.15 Holland Tilburg @ Roadburn

10.04.15 Holland Tilburg @ Roadburn

11.04.15 UK Manchester @ Sound Control

12.04.15 Ireland Dublin @ Voodoo Lounge

13.04.15 UK Glasgow @ Ivory Blacks

14.04.15 UK Birmingham @ The Oobleck

15.04.15 UK Sheffield @ Corporation

16.04.15 UK London @ Underworld

17.04.15 Belgium Brussels @ Magasin 4

18.04.15 Germany Köln @ Underground

19.04.15 France Eragny/Paris @ Covent Garden

20.04.15 France Angouleme @ La Nef

21.04.15 Spain Madrid @ Sala Lemon

22.04.15 Spain Barcelona @ Sala Razz 3

23.04.15 France Lyon @ MJC O Totem

24.04.15 Switzerland Zürich @ Dynamo / Werk 21

25.04.15 Italy Milan @ Lo Fi

26.04.15 Italy Rome @ Traffic Live

27.04.15 Austria Innsbruck @ p.m.k.

28.04.15 Germany München @ Backstage

29.04.15 Germany Leipzig @ Conne Island

30.04.15 Germany Berlin @ Magnet

01.05.15 Austria Wien @ Arena

02.05.15 Czech Rep Prague @ Exit-us

RingMaster 11/03/3015