Human Bodies/Leather Chalice – Split

HB cover art_RingMaster Review

In a union to scar the psyche and corrupt the senses, Broken Limbs Recordings have unleashed a 7” vinyl split release between New England hailing Human Bodies and Leather Chalice, a hellacious proposal of pure black metal malevolence and rancorous hardcore viciousness. These are two bands building a potent name for themselves and they do their reputation no harm wit this intensively rabid encounter. The four-track EP is painfully corrosive and fuelled by creative hate, but if that is your recipe to bliss, then this is an encounter demanding keen attention.

Human Bodies_RingMaster Review     The first two tracks come from the Boston foursome of guitarists/vocalists Terzakis and Gabe, bassist Jason, and drummer Dan, collectively known as Human Bodies. The band began in the October of 2013 as a studio project, developing over time into a fuller line-up and live presence to go with the well-received No Life cassette EP of last year. Just off of a successful full US tour, Human Bodies entangle ears in a rhythmic web as their first offering on the split, Only the Sigh feistily prowls into view. Energy and intensity continue to rise as a bestial bassline colludes with sonic hostility where guitars are ravenous and vocals raw intrusive squalls. It is an uncompromising attack yet has a swing and swagger to it which welcomes body and attention as much as its sonic trespass tries to defile them. It is lethal contagion and an outstanding start to the release which runs straight into a similarly alluring violation in the caustic shape of Malice Prepense. Repetitious beats and riffs again entice and spark a healthy appetite whilst a doomy cancerous breath smothers the listener to simultaneously temper the virulence but increase the potency of the whole malicious incitement.

Leather Chalice is the solo blackened punk project of Jann from Ramlord, who brings inspirations from Venom, Discharge, and “depression and Leather Chalice_RingMaster Reviewtotal defeat of the human spirit by modernism” into his ruinous tempests of blackened punk loathing. Good Intentions (Coming Home I) is his first offering, an abrasion of erosive and raw cancerous morbidity which is as fearsome as it is sonically compelling, whilst Last Gifts of Worship (Coming Home II) takes all the enmity of the previous song and twists it into an even harsher and surprisingly catchy enticing. Of course that infectiousness lies beneath a tsunami of ill-will and rancorous intent which to swim through is as painful as it is rewarding.

Only The Sigh might have emerged as just the favourite track here but between them Human Bodies and Leather Chalice uncage four dangerous and highly enjoyable onslaughts which fans of black metal, hardcore, and violent post punk should take a deep breath and dive deeply into.

The Human Bodies/Leather Chalice Split is available now on Ltd Ed 7” vinyl via Broken Limbs Recordings in co-operation with Prison Tatt Records.

Pete RingMaster 23/09/2015

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Nightslug – Loathe

Promo_Reputation Radio/RingMaster Review

If there is any glimmer of hope for humanity and the world as its falls further into decay, it is an escape you will not find in the sound and new album of German band Nightslug. The seven track encounter is a crushing swamp of sound and ill-will, a soundtrack for and after the apocalypse which thickly and ravenously consumes any hint of light. It is ugly, increasingly voracious, and viciously suffocating but also irrepressibly compelling.

Formed late 2011 in Düsseldorf, Nightslug was bred in and emerged from the country’s hardcore-punk scene. As their demo 12” that first year and debut album Dismal Fucker in 2012 revealed, the band’s sound immersed that hardcore and punk breeding into a tsunami of sludge seeded hostility and nihilistic expression. Both releases startled and spawned potent attention for themselves and the band, but now their brand new album Loathe takes everything to a new grotesque plateau with, easy to suspect, a similar growth in awareness and success soon following.

Nightslug Loathe cover _Reputation Radio/RingMaster Review     From the initial sonic violation of Vile Pigs, band and release is a hellacious resonance in ears and spiteful provocation for the imagination and emotions. The opener swiftly welcomes a savage bassline and telling vocal samples as its climate becomes a piercing and even more inhospitable prospect. Dirty doom spawned riffs add to the trespass almost as instantly as the insidious tones of the vocals, everything united in a corrosive smog of noise and intent. As with many destructive proposals, there is an underlying tempting and swagger leading to contagion, the song’s coming through that increasingly infernal bass bait matched in rancor by riffs and a riveting repetitious essence permeating all aspects.

The song’s departing sonic abuse transforms into the sonically violent start of the album’s title track. It is also the spark to a rage of intensively striding riffs and scything rhythms as a filthy rock ‘n’ roll swing cores the tempest of physical and emotional abuse. The storm though is soon turned into an inferno of noise and indeed loathing through the maelstrom of guitar and the ravenously merciless vocals before it too seeps into its successor, The Thrill Is Gone: Repulsion. There is nothing but hatred and bad blood running through the lumbering vitriol posing as a song, predatory riffs and rhythms alongside contaminated grooves and effect despoiled vocals colluding to get under the skin and devour the listener from within. As much as it is sludge, hardcore, and sheer aural cancer, that deep rooted infection is working away with noise rock and industrial tempting too and never has antipathy and the end of personal days been so seductive.

The excellent Under a Bane is a short unbridled savaging churning up body and feelings with every rancorous note and barbarously spewed syllable whilst Disease straight after, as its name suggests, is a lingering and inescapable sonic and emotional malady slowly working away at the senses with its insatiable distemper. Ears and thoughts simply get lost in its immersive depths and suffocating claws, its sludge crawl clad in an esuriently scarring sound for a gradual and cumulative persuasion.

Animalistic is the best way to describe the brilliant alchemy of Pure, its tribal beats undiluted temptation crawled over by wretchedly bred vocals and a seesaw of sonic enticing. As the gorgeous assault enslaves you can almost feel reality and the surrounding world crumbling into dust, before closing song Tainted Throne drags the listener into its own realm of carnal tones and hideous sonic landscapes lorded over by the most depraved sounds and creative imaginations.

The final song epitomises the nasty and beauteous decay of Loathe, an album it has to be said that simply enthrals and thrills from start to finish. It is obviously not going to ignite a greedy appetite and excitement in everyone but as life and humanity putrefies in our hands, Nightslug present one delicious soundtrack.

Loathe is out now via Lost Pilgrims Records (FR), Dry Cough Records (UK), and Broken Limbs Recordings (USA) and digitally @ http://nightslug.bandcamp.com/

https://www.facebook.com/nightslug   http://lostpilgrimsrecords.limitedrun.com/products/551006-nightslug-loathe

RingMaster 10/06/2015

Copyright RingMaster: MyFreeCopyright

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Mortals/Repellers – Split 7”

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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

Laster – De Verste Verte Is Hier

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Intimidatingly cold, harsh, and exhausting, the debut album from Dutch band Laster is an uncomfortable and at times difficult challenge, but for primal black metal exploration it is a must investigate for genre fans. De Verste Verte Is Hier contains four erosive and pestilential examinations of the senses, a quartet of grievous and emotionally spoilt sonic landscapes which beneath their corrosive atmospheres reveal provocative and immersive sketches of melancholy and pained expression.

Hailing from Utrecht and featuring members of Northward and Willoos, Laster is a duo which has already awoken ears and attention with their impressive 2012 demo, Wijsgeer & Narreman. Now they return with a startling sonic narrative and journey which is not always an easy listen but is a perpetually enthralling one.

Opener Alles wat mij bevalt, ontvalt me is a slowly unveiled brewing of malevolence and emotional distress, guitars coaxing air and ears from a distance but edging closer with every portentous note. There is little light in its heavy almost predatory presence and sound, rhythms and especially the bass an intimidating prowl of shadows feeding the oppressive breath of the track, a stifling which turns to suffocation as the sonic winds and squall of guitar and vocals spread their toxicity across the track’s fierce climate. It is a ravenous flight, grooves and melodic intrigue as cold and ruinous as the rest of the aural smothering but it is a compelling smog of emotionally charged and evocatively hostile sound.

The following Tot de tocht ons verlicht is just as intrusively biting and fascinating, its template similar to the first track but emerging with a different raw immersion of intensity and provocative hues. Grooves nag and with gravelly texture LASTER PROMO COVERvocals wail whilst riffs and rhythms surge with tsunami like belligerence and merciless relentlessness. Within its extensive soundscape though, the track ebbs and flows with rhythmic bait and sonic expression, ensuring ears and imagination can never settle in one raw embrace. Emotively brutal and inhospitable, the track is as its predecessor a gripping drama of despair and ruinous invention.

Ik – mijn masker is the darkest and coldest embrace of sound and intent on the release, certainly the first stretch of its epic terrain is with vocals and rhythms a scourging antagonism and guitars sculpting a ferocious wall of stark merciless incitement. As its body shares and evolves its narrative though, a mellower cloud clasps the song and its intensity to take ears and thoughts on a still barbarous but also less forceful imaginative investigation. The track’s closing passage blossoms from this shift, lone keys providing a haunting melancholy within a diminishing raw breeze until they stand alone with open emotion and grief in their hands.

The album’s title track is the best of the four, its post punk/gothic dance from the first breath a riveting lure of shadowed drenched beauty and seductive resonance. The closer is so unlike the other trio on the release yet fits and suits their inhabitable narratives perfectly with its gloomy elegance and mesmeric charm. Clean vocals and morose yet buoyant melodies provide a glorious weave of hidden temptation and open despondency whilst the song as a whole makes a thrilling end to an impressive journey.

De Verste Verte Is Hier is for the black metal purist in many ways but Laster, especially in its final offering, veins the release with an enthralling merger of emotional turbulence and invention to warrant at the very least a full look from all genre and atmospheric metal fans.

De Verste Verte Is Hier is available now digitally @ http://laster.bandcamp.com/album/de-verste-verte-is-hier, on very limited solid dark blue shell cassettes through Broken Limbs Recordings @ http://brokenlimbsrecordings.com/product/blr030-laster-de-verste-verte-is-hier-cassette-preorder/ and on CD and forthcoming vinyl via Dunkelheit Produktionen@ http://dunkelheitprod.bandcamp.com/album/de-verste-verte-is-hier

https://www.facebook.com/lasterspraak

RingMaster 05/11/2104

Copyright RingMaster: MyFreeCopyright

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Of Spire & Throne – Toll of the Wound

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When grooves alone have a corrosive weight and predacious hunger which leaves the senses exhausted and under-siege, you know you are in the intensive hands of something and someone very notable. Scottish doomsters Of Spire & Throne ravage and suffocate ears through to emotions with their new EP Toll of the Wound to be that something major. Their release is a three track caustic swamp of sludge and doom metal which venomously envelopes and smothers every pore and thought from start to finish. It is a slow brooding maelstrom of thick merciless textures aligned to a lumbering brutality within a viciously insidious atmosphere; it is not so much a funereal like procession of intent more an emotionally destructive apocalyptic celebration.

Hailing from Edinburgh, the trio of guitarist/vocalist Ali Lauder, bassist Matt Davies, and drummer Graham Stewart follow-up the well-received Vagary EP of 2012 with arguably their most pungently intense, asphyxiating proposition yet. From their first live showing in 2009, the band has made their mark and increasingly impressed through their releases, starting with a self-titled two track demo in 2010. The following year saw the release of their first EP The Trial of Failure before the acclaimed Vagary eight or so months later. That bred strong anticipation for its successor, a pressure Toll of the Wound more than lives up to.

Released in conjunction with New York label Broken Limbs Recordings and mastered by James Plotkin, the new EP opens up its presence Album Coverwith Legacy and its opening restraint of guitar. Riffs and lingering notes slowly unfurl their instantly persuasive narrative to engage with and entice the senses first before a portentous march of rhythms from Stewart begins to cast an intimidation on the ever darkening premise of the encounter. It is a welcoming start in many ways, a coaxing which almost flirts with the ear as heavier clouds and emotions begin to gather in force, their subsequent expulsion fuelled by carnivorous riffs and an ugly grizzled but thoroughly compelling vocal delivery from Lauder. The persistence of the song intensifies in relation to its weight, pressuring and seducing whilst the predatory nature and intent of the band uncages darker ravenous textures in a still slow and deliberate gait. Like mesmeric smog, the song permeates every thought and emotion; it’s rising monolithic body and attitude spawning a riveting ten minute slab of toxicity which worms right under the skin and deep into the psyche.

The following Tower Of Glass also takes it time to submerge the senses, its prowling intent coming through a lone rhythmic beckon within a distant but scarring ambience. The numbing resonance and surface of the first track is accentuated on the second, even with it’s certainly initially, less forceful touch. As raw as a primal tempest in its punishing crawl, the instrumental has none of the infestation qualities of its predecessor but all of the spite and ruinous appetite and more in its scarring mordant presence. Staying with senses and thoughts long after its departure, the cavernous body and exploratory desires of the excellent track makes for a unique and refreshing, if murderous exploit.

The release closes with almost thirteen minutes of sonic carnality in the poisonously addictive form of Cascading Shard. Once more a slow rhythmic entrance delays the inevitable consumption of controlled turbulent rapaciousness and pernicious desires. Its concentrated sluggish creeping through the ears is escorted by equally languid and malevolently honed vocal growls, guttural in every aspect and just as appealing as the annihilatory sounds dragging their addictive carcasses around them. As the release as a whole, the song allows no light to break its wall of depressive grandeur and no movement of emotions away from the acrimonious smothering.

It impressively concludes a quite hypnotic and rewarding tsunami of stringent enterprise and invasive invention. Certainly Toll of the Wound is not an easy listen or a safe encounter for disturbed minds but it is a deeply rewarding and adventurous invasion which shows Of Spire & Throne to be one of the most inventive and appetising prospects within extreme doom metal around at the moment.

Toll of the Wound is available at http://ofspireandthrone.bandcamp.com/ digitally and via Broken Limbs Recordings on limited edition vinyl (100 red, 200 black), CD (500), and cassette (100).

https://www.facebook.com/ofspireandthrone

8.5/10

RingMaster 13/05/2014

Copyright RingMaster: MyFreeCopyright

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