Megascavenger – As Dystopia Beckons

art_RingMasterReview

With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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Affliction Gate – Dying Alone

AG_RingMaster Review

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

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

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

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

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

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

The Dying Alone EP is out now via Transcending Obscurity @ https://transcendingobscurity.bandcamp.com/album/dying-alone-death-metal

http://www.facebook.com/afflictiongate

Pete RingMaster 06/01/2016

Copyright RingMaster: MyFreeCopyright

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

Shadowspawn – Ashes Of Sorrow

Photo- Bo Toftegaard

Maybe it is no surprise the striking and accomplished presence that Ashes Of Sorrow from Danish metallers Shadowspawn makes given the intensive experience of the band’s members, but that cannot only explain the impressively riveting and ferocious exploits of the encounter. Consisting of six tracks which twist and roar with a technical and creative enterprise as persuasive and impacting as the raw aggression and malevolent charm which soaks the imposing tempest, the Horror Pain Gore Death Productions released Ashes Of Sorrow is a debut swiftly earmarking Shadowspawn as one exciting and seriously compelling proposition.

As mentioned the histories of Shadowspawn’s line-up are drenched in experience in the underground metal scene, the band emerging from the union of ex-members of Cinerator and Gods Secret Army late 2012. Aligning all the creative and hostile traits of old school death and thrash metal with a technical expertise and imagination unafraid to taunt melodies and grooves, the quartet swiftly goes for the jugular and psyche with their sound and new album. The accompanying press releases suggests Ashes Of Sorrow is a must for fans of bands such as Asphyx, Benediction, Bolt Thrower, Death, Disincarnate, Entombed, Gorefest, Grave, Napalm Death, Obituary, Sinister, Unleashed, and Vader, a healthy list indeed but quite simply Shadowspawn will appeal to all with a bent for technical hostility and extreme metal bred voracity.

Opener Mind Shut Down instantly smothers ears in an infectious weave of acidic grooves pierced by a similarly impressing bassline, all punctuated further by the vicious demands of the drums. It is a fierce entrance but equally a compelling and inviting one which darkens as soon as the strong guttural vocals savage syllables and senses simultaneously. As the music, vocally the song shows adventure, a cleaner abrasion of voice adding fresh drama and expression to the just as pleasingly volatile and inventive sounds. Unrelenting in its thick snarl and predatory imagination, the track sets the release off in scintillating style, a level as good as matched by Life Is The Way You Die. Its initial coaxing shows a drama and intrigue which alone draws ears and thoughts deep into its impending malice soaked presence. Drums provide a gripping bait from the off too whilst guitars add abrasive toxicity whilst also venturing into a sonic temptation which is as caustic as it is melodically colourful. It does not ultimately have the same irresistible spark as its predecessor but everything about the song bleeds thoughtful provocation and incendiary frontcoverpersuasion as it reinforces the early stature of the release.

Hellavation stalks the listener next; it’s prowling riffs and matching rhythmic predation a controlled but deep rooting trespass into senses and emotions. Vocally another new passage of ideation and strength is forged whilst grooves and riffs collude to create an inescapable infection, given extra spice and majesty by the captivating flight of celestial aiming melodies. The mix of thrash and death metal is a sultry almost torrid but seductive blend on another pinnacle within Ashes Of Sorrow, a peak challenged and surpassed by both Slaves In Delusion and Sins Of The Deceiver. The first of the pair opens with a gut expelled growl and never loosens its intensive examination of the senses thereon in, even with the soothing melodic enterprise and gripping enthralling invention which clads numerous unpredictable turns in the outstanding incitement. The vocals especially impress and excite; another array of deliveries and textures shown to compliment the grind of beats and riffs aligned to tangy grooves and again a progressive, almost spatial endeavour. The second of the two has the imagination hooked from its opening swing of strings and orchestral ambience, the seducing embrace never far away even as the track unleashes its aggressive and rapacious rabidity in sound and character. Shamanic spices and symphonic whispers only add to the whole theatre of the track, a proposal leaving appetite and emotions basking.

The album’s title track brings it to a mightily potent close, a seemingly barren landscape at the start soon the canvas for an epic festival of destructive rhythms, vociferously corrosive vocals, and an epidemic of invigorating and bracing grooves. It all blossoms within a climate of melodic and raw emotional turmoil, creating a tremendous conclusion to an increasingly impressive and persuasive album.

Recorded, mixed, and mastered by Shadowspawn alone, Ashes Of Sorrow stirs up a major appetite and attention for itself and subsequently its creators, a hunger you can only see, on the evidence of this stunning debut, being fed with greater exploits ahead.

Ashes Of Sorrow is available now digitally and on CD via Horror Pain Gore Death Productions @

http://www.shadowspawn.dk/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

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Raw blood and ceremonies: talking Antropomorphia with Ferry Damen.

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The presence of Dutch death metallers AntropomorphiA comes in two parts, a successful period between 1990 and 1999 and second starting in 2009 when the band came back to life after a decade hiatus. Its return has led to acclaim and feverish appetites for the band’s uncompromising and imposingly bracing inventive sound. Just recently AntropomorphiA unleashed new album Rites ov Perversion, a wickedly accomplished and compelling slab of extreme savagery putting a potent spark back into death metal. Eager to learn more about the band, we had the pleasure to grab time with vocalist/guitarist Ferry Damen, exploring the birth and first era of the band, the new album, and connections between certain songs and their author…

Hi Ferry and thanks for sharing time to talk with us.

It is fair to say that the recent release of your new album Rites ov Perversion has drawn even more attention and awareness of AntropomorphiA than ever before; certainly it has been the release opening us up to your dark violently imposing world. How has reactions been for the release and have you felt an increased spotlight from it?

The overall reactions are very positive, from both media and fans. We certainly notice there is a lot more attention drawn towards the band since the release, which is again a positive thing for us!

It is the successor to the well-received Evangelivm Nekromantia of 2012, how and where do you see an evolution in sound between the two?

I think it’s becoming more comfortable within your own sound and songwriting. With Evangelivm Nekromantia we wanted to present an album that after such a long break was a good representation of where we stood musically and could define us. Evangelivm Nekromantia became more groove-based and atmospheric than all our previous work but still harboured those characteristics that defined us. That sound became the spine on which I wanted to grow this new entity. I wanted to refine that sound and draw from a big diverse palette while staying true to some old Death Metal traditions without becoming a copy of the genre. I think what the main difference in sound is the progression, which is an inevitable thing as an artist and I think

Before we look at the new album more closely can we briefly ask about the beginnings of AntropomorphiA way back in the mists of time, well 1990 to be specific. Was there a particular intent and inspiration to the band back then?

We started of inspired by the early Black Metal bands such as Hellhammer/Celtic Frost, Bathory, but when I heard Scream Bloody Gore and Seven Churches the intent became to play raw and uncompromising Death Metal. We were inspired by all the upcoming DM bands that surrounded us, from Entomed, Grave, Asphyx, Death to Bolt Thrower, but not in the sense that we wanted to sound like them.

Has that force behind the band’s creation continued or evolved over time?

I would say it has evolved. When we started out our musical skills weren’t at the level they are now so our early work is more primitive. We evolved as artist and the hunger within this band has grown together with this progression.

Looking back, a relatively successful period for the band led to a decade hiatus, was there a prime reason for the dormancy of the band? antropomorphia_photo02

We were at a point where Death Metal had become a repetition and was bleeding out, we weren’t able to book any shows. We parted ways with our original guitar player, who was a very good friend, so that left its mark and our other musical projects got more interest from the outside world. Time became also an issue due to those projects. So we decided to put the band on hiatus.

…And the spark bringing AntropomorphiA back to life in 2009?

When we put the band on hiatus I never stopped writing for the band. So from time to time I would sit and record some of these songs together with Marco (Drums) at his studio. Months would pass and then Marc (Bass) would record his parts, Marco would mix the tracks and we would put some of them online on our MySpace page back then. Every time we’d record or made music together, we’d sometimes rent a rehearsal studio just to play some AntropomorphiA tunes; that spark started a small fire and when time became less of an issue we decided to really feed those flames.

Did you look at the band and the music brewing up inside her differently this second time around or was it simply picking up where the band left off?

The music we wrote within those years of our hiatus showed some progression in our style but when we started writing it was difficult to get back in our skin so to speak. We’ve recorded a whole album worth of material, which had elements of what was brewing inside AntropomorhpiA but it was until after those recordings that the fire started to really blaze.

What specifically consumed the band member’s experiences and careers in that intervening period?

Marco (Drums) and Marc (Bass) where part of a band called Flesh Made Sin and I got involved managing a major act here in the Netherlands.

Back to Rites ov Perversion, would you agree is probably your most vicious yet adventurous album yet?

Antropomorphia-RitesOvPerversionFor sure, I think with every listen you’ll hear it offers a more dangerous sonic ride. A sinister, brutal, violent and emotional ride, layered in a more multidimensional sound.

We also sensed looking back at previous releases that there is an element in its sound that is seeded back in the early music of the band. Is that something you hear and was this deliberate or simply an organic emergence?

These things emerge on a natural way; I think it comes from my style and approach of writing and playing this type of music.

Evangelivm Nekromantia found itself under scrutiny and dislike of the German authorities, leading to its banning I believe. Are you expecting similar attention and reactions with Antropomorphia in certain quarters?

I didn’t get completely banned, it’s an 18 or older type of thing if you want to buy the album. I think they will certainly have a closer look at this album since we became part of their list but we didn’t really think about it or take it into account writing this album. I’ll guess we’ll see how they react to certain things to come (our video for Nekrovaginal Secretions might rub them the wrong way) but until now we haven’t heard from them.

The last album had a continuing theme to its songs, but Rites ov Perversion feels like the songs, apart from a few are more individual and standalone in their narrative. What are some of the concepts and explorations running through the release?

The album is filled with the same thematic occult/gore, mostly consisting of a sinister, diabolic, misanthropic and sexual nature. Crowned in Smoldering Ash is an exception as this song addresses the depressions that have plagued me throughout my life. Inanimatus Absqui Anima is written by a good friend of ours Twan van Geel (Legion of the Damned, Soulburn) which is about the Greek mythological goddess Kore (Persephone) who gets raped by Hades. As a reference to our world where everything will end up getting raped in some sort of form, dies and will end up empty and rotten.

How long was the album in the making and how did the writing process work for its songs and in general with the band?

I started writing on and off from the second half of 2013. It’s a very intense and complicated process at times, so I’ll give you the short version; I write all the music and Marco is responsible for the arrangements. There are times also we co-write/arrange songs.

Jos van den Brand is a new addition to the band between albums, how did that change the dynamics and process of writing and recording Rites ov Perversion to say the previous album?

It didn’t, our writing process has been the same for several years.

Your songs appear to take inspiration from classical and literature bred themes as well as more modern issues. There also seems an intimacy to some of the lyrics, is there a stronger personal element to tracks than maybe initially perceived by us outsiders?

This is the first time I get this question, which means someone is paying attention ha-ha. I’d say it’s certainly the case on Rites ov Perversion, I mentioned the song Crowned in Smoldering Ash, this is the most personal song I’ve ever written but there are more tracks even on the previous album that hold something personal. Although Crowned… is the most outspoken, even though I think if I didn’t mention this, it would not be perceived as that.

Rites ov Perversion also includes a cover of Death’s Open Casket, why that particular song from their arsenal of songs?antropomorphia_photo01

Although we are an admirer of the whole Leprosy album, Open Casket is that one song that jumps out for each of us. When we started playing it in the rehearsal room it immediately felt like a perfect fit, since Death was one of the most important DM bands for us we said why not put it on the album.

You mentioned it earlier, the video for Nekrovaginal Secretions from the album; can you give us some hint and background to that?

Well the video is based on the lyrics of the song. We’ve had our second and last day of shooting last weekend and it will be an ode to lesbian necrophilia, and perverted masochistic sexual behaviour. We’re still in the editing process so I can’t say more about it than this.

What will the rest of 2014 going into the New Year have in store for and from AntropomorphiA?

Our bookings agency is focusing on club and festival shows. So we will be able to cast our Rites ov Perversion all over Europe.

Once again a big thanks to talking with us, any final thoughts you would like to share?

Thank you for the time! Check out the album.

‘Behold the Sway ov Death’

F

 

Ring our review of Rites ov Perversion @ https://ringmasterreviewintroduces.wordpress.com/2014/09/17/antropomorphia-rites-ov-perversion/

Rites ov Perversion is available now via Metal Blade Records @ http://www.emp.de/antropomorphia-rites-ov-perversion-cd/art_288907/

http://antropomorphia-official.com/

Pete Ringmaster

The Ringmaster Review 10/10/2014

Copyright RingMaster: MyFreeCopyright

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

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Display of Decay – Outbreak of Infection

BW - promo

From its outstanding cover art to its heaviest predatory note, Outbreak of Infection the new EP from Canadian death metallers Display of Decay, is one richly appetising and satisfying proposition. Unleashing five tracks which crawl and lumber over the senses with tenacious and skilled purpose, the release pushes the Edmonton based quartet another few strides towards the brightest spotlight. Maybe it does not hold any major surprises but without doubt the EP makes for a fresh and rigorously protagonist which is thoroughly compelling.

Formed in 2007, the band took little time in grabbing local attention with their old school bred death metal which, as shown on the new release, is unafraid to add doses of thrash and doom seeded ferociousness to the mix. First EP Blood Borne in 2010 brought the band to an instant attention which their band’s self-titled debut album two years later stretched even further, aided by their live presence which has seen Display of Decay infest western Canada with their sound whilst sharing stages with the likes of The Faceless, Origin, and Beyond Creation amongst many. Self-released as its three predecessors but their first international release, Outbreak of Infection has the potency to take the quartet to greater and wider attention, something hard not to see happening.

Display of Decay has recently expanded to a four piece with the addition of rhythm guitarist Jeremy Puffer, but Outbreak of Infection sees the combined talent and might of guitarist/vocalist Sean Watson, bassist/vocalist Tyler Display of Decay - coverGoudreau, and drummer Avery Desmarais uncage its creative pestilence on the senses. Opening track Born Of Rot immediately imposes itself on ears and imagination, riffs savage in touch and raw in voice. The steady rapacious start is soon striding with a thrash urgency and hunger as the heavy guttural tones of Goudreau growl into action. The song’s irresistible entrance loses none of its potency and voracity as the song expands with sonic tendrils amongst bestial bass lines and thumping rhythms. The band cites the likes of Pantera, Deicide, Vital Remains, Dying Fetus, and Bolt Thrower as influences and as the song tangles intimidating prowls and fury led surges essences of those hints come out in the flavour of the track, and EP overall.

The excellent start is continued by the following Manchurian Candidate, its reserved but open swing of riffs and short grooves infectious bait for ears to greedily latch on to. With a bestial charm, the song stalks the senses whilst flirting with strands of sonic enterprise which may not seduce as forcibly as the unrelenting heavy hunt of riffs and rhythms but certainly sparks a healthy intrigue and enjoyment through the craft and colour of Watson’s guitar. The song flows seamlessly into Praise The Gore, Goudreau and Desmarais setting up an imposing cage of rhythmic enticement to which Watson adds blistering sonic hues. Once again the band is adept at merging a furious charge and reserved gait with a flick of a chord, ensuring that predictability is never allowed to breed. As the last song, it does not quite rival the heights of the first track, but both ignite thoughts and emotions with a resourceful and inventive voracity which raises the pleasure found in the EP to another level.

The title track sears air and ears with a lashing of captivating grooves and a barrage of hostile rhythms all prowled over by Goudreau’s barbarous vocals. There is inescapable virulence to its enticement and energy which enslaves attention and emotions given extra potency by the dark intent and throaty twang of the bass as well as the inventive flames of the guitar. The song is incessant in its imposing presence and magnetic invention, and quite merciless in its hold of the passions.

Outbreak of Infection is brought to a fine close by a cover of the Kiss track Black Diamond, the song given a blackened make-over with death metal predation. It is a captivating version providing a pleasing finale to an excellent encounter. Display of Decay may have been Canadian metal’s pride and joy before but with the release of Outbreak of Infection maybe the rest of the world will now be making claims to the band’ time and attention.

The Outbreak of Infection EP is available now @ http://displayofdecay.bandcamp.com/

http://www.displayofdecay.net/

8.5/10

RingMaster 27/08/2014

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Lesch-Nyhan – Lesch-Nyhan Syndrome

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The first album since their return, Lesch-Nyhan Syndrome makes a ravenous and richly satisfying confrontation from US death metallers Lesch-Nyhan. The successor to the band’s 1991 demo Indistinguished Remains, the seven track savagery is a rewardingly imposing and thrillingly incessant beast of a proposition, a bestial encounter recalling the seeds and original toxicity of the Philadelphia quartet whilst equally holding an unhealthy dose of modern intrigue and fresh faced twists. It is not an album to blow extreme metal away but certainly a ravaging to make Lesch-Nyhan’s comeback a highly joyous and thrilling one.

Formed in 1989 by vocalist Gary Hadden with brothers, Mark (drums) and Anthony Delacandro (guitar), Lesch-Nyhan was soon completed by bassist Greg Oreski and guitarist Mike Carr. Quickly getting to play live shows with the likes of Suffacation, Incantation, Crucifier, and Ripping Corpse, the band released their demo in 1991 from which the band was invited to play a showcase in front of numerous label representatives. What followed though was the demise of the band; a slow falling apart which new members could not bring any halt to with the band stopping in 1994. Fast forward to 2012 and a discussion between Hadden and guitarist Rob Vanderveer (a member of the last line-up of the band), about reigniting things, to “Put our stamp on this shit”. A year later saw Lesch-Nyhan reform with a re-issue of Indistinguished Remains on Horror Pain Gore Death Productions, just as the new album. With guitarist Jack Carmichael, bassist Chris Miller, and drummer Mark Stainthorpe alongside Hadden, Lesch-Nyhan has produced a riveting scourge of sound and intent with Lesch-Nyhan Syndrome, a furious hostility sure to excite those with an appetite of bands such as Autopsy, Bolt Thrower, Carcass, Gorguts, Immolation, and Napalm Death.

Recorded live in the studio helping to bring the raw brute creative force of Lesch-Nyhan to life, the album opens with World Destruction, a track as expected from its title with all the hostility and rancor to bring all before it to its frontcoverknees. It also comes with a passions binding groove which from its first breath grinds and worms deeply into the psyche as rhythms cascade voraciously down on the senses. Complete with the barbarous rancor of Hadden’s throat and the nagging contempt of the bass, it is an irresistible blast of insidious feuding which ignites appetite and passions just as forcibly as the album itself.

Its stunning start is not quite matched by the following Septic Hole and Flock Of The Misfortunate, though it is more to do with its might than their failings. The first of the two again is offering a scathing infection soaked groove around with rhythms bring a barbaric unpredictability and guitars a sonic smog of contagious endeavour. Vocally Hadden lurches syllable after syllable across the senses, his delivery breeding a pestilential persuasion which is as sinister and merciless as the predacious sounds scarring his way. It is another masterful proposition if without bringing too many surprises, similarly as its successor. The album’s third track prowls with purposeful weight and predation, every riff and rhythmic provocation concentrated in its oppressive incitement which an emerging fiery but respectful groove cannot defuse. With the vocals at their most demonically intimidating and caustic, the track sends primal shivers down the spite but fails to find the same spark to ignite the passions as the opener and subsequent tracks hold.

Bathed In Phlegm returns the senses to a tempestuous torrent of frenetic riffs and rhythms bred from the darkest despair. It is a storm which has a rein on its hunger though, switching intensities of gait and ferocity for a filth clad waltz of insurgent sounds and rabid animosity which ebbs and flows in its voracity and ultimately success. To be fair though it is a proposal which ears and emotions welcome with open submissive arms, but one again only stirring up the passions rather than igniting them. The following Regurgitation Through Decapitation has little problem in seizing imagination and those passions, such its corrosive beauty and invention. Marking the moment where the album reveals it’s most potent and addictive nature, the song thunders against ears with a wall of barbaric rhythms and an intensively fused swarm of riffs. It is tsunami of spite and malignancy turned into a sonic vendetta in turn driven by a great dual squall of vocal spite from Hadden feverishly backed by Miller. The song stomps and rages with little regard for the health of its recipients, bass and drums crafting a frame of tortuous entrapment which any dungeon would be proud of whilst the guitars and vocals lay waste with an emotion violation of hellacious enterprise.

The glorious rhythmic coaxing which brings the title track into view is one of those instinctive baits there is no resistance to, an insatiable coaxing which only increases its toxic potency when aligned to the serpentine bred vocal cancer brought by Hadden. It is not long before the enthralling leviathan tones of the bass stalk air and guitars spread their caustic waves, the emerging blend of ferocious rapaciousness only reaching deeper into the psyche and greedy hunger inspired by the album. Roving with pack like relentlessness, the track is a predator of sound and bestial appetite, its grinding incitement and gutturally shared narrative an evil suasion to unrelentingly and sublimely excite the whole body.

Lesch-Nyhan Syndrome is brought to a powerful close by Internal War And Hate, a final purge of hope and security brought with an increasingly dangerous consumption of single minded grooves and scarring riffs within a network of bass rabidity and rhythmic enmity. It is an outstanding end to a thrilling encounter, not one as we said to turn extreme metal on its head but a release to easily place Lesch-Nyhan back in the heart and intensive spotlight of death metal.

Lesch-Nyhan Syndrome is available now via Horror Pain Gore Death Productions @ http://hpgd.bandcamp.com/album/lesch-nyhan-syndrome

https://www.facebook.com/LeschNyhanMetal

8.5/10

RingMaster 16/07/2014

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Loudrage – Uglier Than Thou

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2014 is already getting off to a thumping musical year with numerous impressive releases across numerous genres even though barely into its second week and you can add another gem to the growing list in the towering shape of the Uglier Than Thou EP from Romanian death metallers Loudrage. Five tracks of groove infested malevolence which takes the ears and imagination on a rampant dance of incendiary and devilish contagion whilst gnawing away at the insides. It is voraciously compelling protagonist for senses and emotions and easily one of the most scintillating tempestuous assaults daring to molest the psyche in recent months.

     Formed in 2005 and bringing influences from the likes of Six Feet Under, Debauchery, Sepultura, Obituary, Grave, Bolt Thrower, and Deicide into their horror bred malevolence, the Ludus hailing, Transylvania based Loudrage are no strangers to attention and acclaim being named as Best Romanian Death Metal Newcomer in their second year and playing with the likes of Sepultura, Vital Remains, Godphobia, and Rictus Grin in their first couple of years as well as sharing a split DVD with the last of the four in 2007. The following year saw the release of the Rage Unleashed – Tale of a Murderer EP which followed a self-released demo two years earlier. Shows with bands such as Grave, Belphegor, Nile, Opera Ix, Lividity, Furnaze, Nuclear, and Amethyst to name just a few filled the following years as well as the release of the Pungent Roots demo in 2011. Last year saw the quartet of Molester (vocals), Bestial (guitar), Vomital (bass), and Canibal (drums) enter the studio to record their new release and though wide recognition outside of their home territories still escapes them, given luck and attention it is hard to imagine Uglier Than Thou not providing the hefty key to open up new doors in recognition.

   It is fair to say that as soon as opening track Doomed thrusts its muscular intensive frame upon the ear and an instant predacious groove calls from within the tsunami of sound the band has their irresistible hooks in deep. Riffs gnaw away at the senses with torrential persistence whilst the drums clobber the ears with sturdy endeavour and enthusiastic violence. The predominantly death metal track is an unrelenting nagging driven by the guttural squalls of Molester. It is a potent irrepressible mix, arguably not breaking new ground but is virulently contagious especially as little splinters of grooves entwine the tempest from time to time. It is an impressive start to the encounter with greater assaults to come it soon emerges.

     As Long As I Live soon has things instantly aflame as it stomps into view wielding an addiction fuelling groove which wraps around the ears like a salacious temptress. The stroll and swagger of the song is virulent in the extreme, a wonderful carnivorous bass sound constantly chewing upon the infectious lures laid by the guitars alongside corrosive vocals which get better and more impressive as the EP progresses. With the lyrics parading the nastiest dangerous romance and often slight but always open twists and turns to the invention and gait of the song almost taunting, it is a masterful insidious seduction. Again you can argue that Loudrage are revitalising previously sculpted sonic animosity and venom rather than spawning their own but truthfully who cares when it sounds so good.

    Both Fear Me and Suffo-Kate stalk voraciously the new found plateau of the release, the first a thoroughly ravenous intrusion on the senses. Riffs crawl and antagonise the air whilst rhythms show rigid restraint to frame the savagery though still managing to have moments to add their bone splintering spite too. Again the bass feeds the primal beast inside, its stringed jaws a rapacious aggressor alongside the toxic scrub of riffs. Its successor is no less pestilential and more ferocious in its energy and groove lit rabidity. There is also a crunch to the tone of the song, a metallic intensity which infests and resonates in bone and the imagination, whilst the melodic poison raging through the veins and grooves of the track sear and almost asphyxiate the senses. The pair are again pinnacles which linger and drive a real hunger to hear more from the band now and in the future.

     The EP closes with the groove fest of Intruders; from vocals to riffs, rhythms to those wonderfully infernal grooves the song savages with death metal sculpted hips swaying like a whirling dervish. It is an infection which should be quarantined, though only if we are locked inside with its uncompromising, ferocious devilry. It is a blistering conclusion to an impressively hellacious release. There is nothing to fault the EP over apart from debatably it holding a strong familiarity in some ways to established invention, but as mentioned before it is a minor thought before a major triumph and the moment when Loudrage will be a name eagerly thrust around the metal world.

Go grab Uglier Than Thou as a buy now name your price release at http://loudrage.bandcamp.com/album/uglier-than-thou now!

https://www.facebook.com/loudrageband

9.5/10

RingMaster 10/01/2014

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