Nervous Impulse – Time To Panic

Nervous Impulse Band Photo

Even the most battle hardened grind fan might burst into cold sweats during listening of Time To Panic, the new album from Canadian sonic assassins Nervous Impulse, but equally they will bask in the rewards of one hellacious and viciously compelling treat. The fifteen track fury is pure aural violence yet has an addictive character and contagious underbelly which lures you back time and time again into its excruciating bedlam. It has few charms to lure anyone with passions lying outside of death grind it is fair to say but for those with the right appetite, band and album are destructive manna.

Formed in 2007 by drummer Yan Chamberland (ex-Empathy Denied/Obscene Crisis), Nervous Impulse was soon stirring up sweat and tears with their ferocious sounds and debut album Enough for Dementia in 2009. With a line-up completed by vocalist Eric Fiset (ex-Empathy Denied/Obscene Crisis) , and guitarists Robert Guimond and Vincent Malo, the Montreal band swiftly drew potent and praising attention with the release. On its inception Chamberland had a clear vision of the band’s intent, “to produce the most insane and destructive musical achievement he could ever imagine in his extreme musical mind.” Enough for Dementia successfully went a long way to achieving the aim though hindsight now shows it was merely a starting point for greater hostilities. Live too the band left no one standing without support, bringing fans to their knees and bliss with shows which probably should have carried a health warning, much like Time To Panic. Line-up changes saw bassist Felix  Bourcher and guitarist Bruno Mercier join the band before in 2013  Nervous Impulse signed with Nova Scotia based label Blast Head Records who now uncage their latest pestilential treat.

Recorded again with Hugues Deslauriers, who worked on their debut, Time To Panic opens with the bedlamic Intro before tearing out senses and psyche with Oil Spills. A battery of riffs and beats pummel from the first breath whilst vocals are a tirade of squalling rage. Whatever they are venting about who knows but there is no escaping their malice and rancor even within the strenuous winds of the sonic tempest. It is not all sheer violence though as grooves come with a virulent contagion and rhythms despite their insidious nature, are instinctively anthemic. The track is simultaneously insufferable and infectious just as the following Prorogued Democracy, an even more brutal and noxious confrontation. Gutturally swinish vocally and with an inhumane swagger, the track lurches with addictive magnetism as it tears the senses asunder with rapier swings of the drums and violates with carnal grooves amidst searing sonic enterprise. There is no Nervous Impulse - Time to Panicsense, as across the whole album, of what is coming next or from what direction but whilst whimpering in sore bliss, the hunger for more overrides the suffering.

Both the visceral carnage of Syrian NATO Meat Grinder and the toxic antagonism of Wing Clipper keep ears and imagination enthralled, both with individual characters working from a similar template, as most songs to be honest. They are soon spreading unique infestations of sonic abuse and rhythmic vehemence deep into the psyche, the latter of the pair developing a delicious bestial groove from which a melodically cast antipathy squirms whilst inviting richer involvement from its victim.

The insidious enthralling reflections of Nostalgic Memories, a track with more twists then a nightmare of slinkies, sets down a new plateau for the album. It is a web of varied vocal expulsions and tantalising grooves relentlessly bewitching the senses whilst the album’s following brief title track is sheer pain, and totally ravenous much as 9 Meals to Anarchy-Riot Solves Everything which follows and My Right to Medicate straight after. The first of the pair savages with drooling riffs and covetous grooved intent, every second and grunt an iniquitous temptation whilst the second is smog of evil and corrosive tenacity. For every tsunami of malignant noise upon the album though there is a whirlpool of fascinating invention and unpredictability, stronger in some than others but always working away seducing as impressively here or again in the barbaric onslaught of Eclipse of Personality with its rhythmic enterprise and predatory imagination.

As the heavy-duty malefactions of the deceptively catchy Overwhelming Positive Vibe, the aurally fearsome The Last Call, and the punk brawling of The Neighbor’s House Is on Fire come and go, thoughts and emotions continue to be buffeted and incited, the middle of the three especially gripping with its excellent bass endeavour. The final one of the trio is a hardcore/grind bred fest of hate and bad blood offering more diversity to the enmity of the album.

Completed by the excellent Dead Jeremians 2014 with its blood soaked twang and a fine cover of Vexed from Agoraphobic Nosebleed, Time to Panic is grind at its insatiable and creative best, and certainly in its most addictive form. Technically too, and at times hidden by the sheer erosive turbulence cast in songs, the band is a striking and impressive proposition. It is easy to understand the buzz around Nervous Impulse listening to their second album, but not so easy to remove the ringing in the ears and the bad dreams it inspires.

Time to Panic is available now via Blast Head Records @ and

RingMaster 11/02/2015

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Perversion – Pillars of the Enlightened


Formed in 2006 and hailing from Dubai, United Arab Emirates, death metallers Perversion are now ready to wake up a greater awareness for their intensive sound with the help of Blast Head Records. Debut album Pillars of the Enlightened was first self-released last year and brought stronger attention on the trio but now with N. American poised to be consumed through the Canadian label, things are stirring for one of the few if only death metal act in the U.A.E.

Originally a quartet, Perversion goes for the jugular with unbridled and unpolluted death metal. It is a sound which holds no surprises yet has a devious intrigue which pulls you back into its clutches time and time again. The release of their first EP The Origins of Horror in 2008 made them a potent force in the local scene as did their live shows, if further afield they understandably were an undiscovered scourge. Consisting of founders Mahmud Gecekusu (ex – Nephelium) and Rhama Al Rhama alongside Alex Micklewright, the band is poised to welcome greater recognition and concerted focus with their powerful and deeply satisfying full length introduction as they build on successful appearances with the likes of Hate Eternal and Grave as well as at festivals alongside bands such as Suffocation, Vader, Origin and Exodus.

The short impressively executed intro/instrumental Through the Void begins the album’s aural tale, its dramatic and epically carved Cover Artwalls a potent beckoning into the heart of the album and next up Aging the Unbirthed. The second track makes a sure and forceful start if without showing its full strength and muscle. Soon into its stride though the band captures the imagination with a heavy blaze of intensive riffing from the guitar of Gecekusu and a barrage of predatory rhythms conjured and unleashed by Micklewright alongside vocals from bassist Rhama which hold an almost expected but accomplished guttural squall of malevolence,. It is a mighty start and if not ground breaking leaves an open appetite for more.

That hunger is soon appeased by The Great Deception and the title track, both continuing the intense stance and spite of the album in individual yet connected ways. The first offers tight expressive grooves and sonic flames within its stringent savagery to twist things a little further within Pillars of the Enlightened, whilst its successor just chews up the ear with carnally bred expanses of debilitating rhythms and carnivorous riffs. Already there is a similarity forming certainly across the surface of songs which the next up excellent Subconscious Mutation does little to dispute even in its glory, and if anything that is the biggest down on the release. That is not to say each track does not have its own facets and lures but a more determined delving into the depths of songs is often needed to find a memorable lingering mark distinct from the others.

Both Gates of the Multiverse and The Origins of Horror tease and taunt thoughts and senses with style and presence, the first through winding grinding grooves which work their way through to the psyche and wrap searing tendrils around their capture whilst its thrilling companion is deceptively insidious in its climb over and consumption of the senses, riffs and sonic weaves a tempest which shadow the lethal intent at work from bass and drums.

The pleasing Ones of the Beyond starts the closing of the album with a strong similarity to The Origins of Horror, though again a detailed watch reveals more than first assumed, and is then pushed aside by the thrash led rampage of Dementia (Of Devourment). Like a pack of ravenous wolves the song snarls and clamps its feisty jaws on the listener throwing and pulling them through an eventful fire of destructive and malicious intent.

It is an exciting end to a strong and pleasing album. Pillars of the Enlightened certainly is not attempting to set boundaries or reinvent anything within the genre but instead Perversion has created an album which feeds and satisfies all the wants you could have in a straight up death metal beast. Greater adventures you feel will come with the band ahead but right now they have laid down a very decent no frills slab of metal.


RingMaster 30/07/2013

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Ade – Spartacus


Epic sounding, tactically dangerous in its sonic invention, and technically destructive in melodic spite and venomous intensity, Spartacus the new album from Italian death metallers Ade is just magnificent. The album blends death metal with the traditional instruments of ancient Rome and Greece for a compelling and thrilling confrontation. It is a never ending twist of corrosive intensity and devious ingenuity coaxed into an encounter which disorientates and mesmerises with equal measure and success, vicious and enthralling the record is a masterful violation and education.

Formed in 2007, the Rome quintet follow up their well-received debut album Prooemivm Sangvine of 2009 with a release which is sure to feature in best of 2013 lists come December, it is a thunderous tsunami of crippling rhythms, senses chewing riffs, and an invention within exhausting intensity which is jaw dropping. Released via Canadian label Blast Head Records, Spartacus offers ten tracks of memorable and riveting power with arguably the fact there is so much going on to take it all in the minor niggle towards it, then again it only makes the excuse to confront its malevolent presence to explore more irresistible. With a sound openly influenced by the likes of Nile and Behemoth, and featuring extreme metal drummer supreme George Kollias (ex-Nile), the album grips from its first breath to its colossal last and has the passions drooling relentlessly.

Betrayer From Thrace approaches the ear with ethnic instrumentation, a hailing horn, and coaxing rhythms, the gentle Ade-Spartacus-Album-Cover_Lbeckoning lasting only a few seconds before a fury of precise yet bedlamic beats, senses gnawing riffs, and deep gravelly vocals assault the ear, their force veined by sonic invention. As it continues to caustically abrase with a secretive underlying persuasive lure, the song twists and turns allowing its ancient breath and seductive melodic enterprise to explore the ravaging shadows. It is a stunning start which only in hindsight shows that it is merely the lead in to even greater things; its grand chorus of vocals the heralding of an expanding glory.

The welcoming string plucking to invite Sanguine Pluit in Arena into the ear is a delicious intrigue which holds its own as much as it can within the soon to bare furnace of ferocity, again speared by striking guitar invention and a staggering rhythmic attack. The musical call of the ancients wraps around the core of the song to emerge and disappear with persistent irresistibility so that within moments of the track you do not know whether to headbang until numbness is the reward or dance with a veil and salacious intent. It is a near perfect blend and performance soon eclipsed by The Endless Runaway. The following song sways around the ear with beautiful female vocals and accompanying vibrant beats before expanding into a sonic landscape of prowling riffs, commanding rhythms, and mesmerising sonic temptation with waspish attitude. As mentioned earlier, there is so much going on here and on the album to catch or take in at once but nevertheless the song tells a full and colourful narrative which shifts and grows with each charge of its dramatic soundscape.

Across the likes of the outstanding Crixius Flags Of Dishonor, a track as brutal and sadistic as it is hauntingly elegant, the blistering Mars Unpredictable Favour where the drums find their most virulently insidious potency, and Six Thousands Crosses, the album cements its already immense stature in thoughts and emotions with relish and ferocious invention, the technical storm as staggering and wonderfully corruptive as the hellacious tempest of primal intensity and unbridled severity. If there is any flaw, and we use the word loosely, it is that the surface of songs hold a strength of similarity which makes some with an unfocused listen blend within each other’s arms but again it is a mere texture only to look beyond for the greatest rewards.

With Divinitus Victor and For Everything To Be The Same… completing one of the most intensive and gripping albums of the year so far, it is fair to say Ade has presented what will be regarded as a classic not only in their own timeline but that one suspects within extreme metal. Spartacus is not only a must hear but a must have triumph.


RingMaster 16/04/2013

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