Mortuary – Nothingless Than Nothingness

Mortuary-photo_RingMaster Review

Formed in 1989, Mortuary has been a potent protagonist within the French metal scene, certainly since the release of their debut album Hazards Of Creation seven years later. The well-received release followed a clutch of demos and awoke the beginnings of broader recognition for their brutal death/thrash onslaught of a sound. Now the band release their fifth album in the ferocious shape of Nothingless Than Nothingness, a beast of a record which might not turn the extreme metal world on its head but definitely gives it a rousing roar to contemplate in 2016.

Since that first full-length, Mortuary has unleashed a trio of attention whipped albums in Eradicate (1998), Agony in Red (2003), and G.O.D. (Glorify Our Destroyers) (2010)whilst live their sound has scarred stages alongside the likes of Coroner, S.U.P., Obituary, Krabathor, Agressor, Hypocrisy, Hatesphere, S-core, and Severe. As Nothingless Than Nothingness rages against ears and sparks the imagination, the album suggests Mortuary is ready to entice a whole new wealth of appetites with its accomplished and maturely honed anthemic barbarity and step into broader spotlights.

Mortuary-cover-artwork_RingMaster ReviewThe initial industrial apocalyptic scenery of brief opener Only Dead Witness grabs ears first, its portentous air soon building into a muggy and intimidating confrontation led by the vocal scowl of Patrick Germonville. Amidst raw suggestiveness spread by guitar and bass, the stirring beats of Johann Voirin provoke a more energetic bellow of riffs and intensity before the scene setter eventually drifts off into the jaws of Empty. An unbridled onslaught from its first few breaths, the second track savages and incites as thrash and death metal collude in a punk infested rampage. The bass of Jean-Noël Verbecq prowls this with zeal as the track careers over the senses, sparking an infectiousness soon taken up by a variety of vocals and the sonic enterprise of guitarist Alexis Baudin.

For all its fearsome breeding, the song is ultimately primal rock ‘n’ roll more than matched in success and prowess by both Tube and Above. The first is a hornet’s nest of grooves and nagging riffs with rhythms just as unrelenting in their cantankerously violent way whilst its successor emulates the predatory toxicity with its own exhaustive and vicious barbarism aligned to a groove loaded tempting. As all songs, the pair reveals unpredictability to the addictively infectious elements colouring their walls of hostility and a creative adventure and craft which may get a touch overwhelmed by the tsunami of intensity but leaves the imagination as enthused as ears.

Through the crusty yet refreshing air and rabidity of Pleasuffering and the hellacious ride of U-Man Slept, K-Os Crawled, the album whips up an even more mouth-watering and debilitating storm. Both tracks come thick in rage and striking flavour blending enterprise whilst Yesterdead straight after has a touch of fellow French hardcore metallers Yugal to its brawling, punk infused trespass.

Song by song, Nothingless Than Nothingness just seems to get stronger and more compelling; whether from raising the ante in invention or by the wearing down of the listener and psyche and it continues with the searing rancor and sonic ferocity of K and in turn the hardcore festering enmity of Morbid Existence. The first of the duo also explores calmer, more ambience hued ventures within its diversely textured landscape of varied metal whilst another furious onslaught of passion rousing death punk ‘n’ roll has the listener in its inescapable grip in the second before the brutalising smog of sonic and rhythmic bad blood that is Kingdom surges through ears with the infectiousness that as much as anything marks out Nothingless Than Nothingness as something to eagerly devour. Once more the band push ideas and expectation avoiding turns within the aural tirade, keeping attention and appetite as intrigued as the sheer force of the encounter feeds bloodlust.

It is a mighty end to an excellent offering from Mortuary; an album to heavily please and leave pleasure thick whilst pushing the band further to the fore of extreme metal.

Nothingless Than Nothingness is out now via Goregeous Productions @

Pete RingMaster 20/01/2016

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Party Cannon – Bong Hit Hospitalisation

PC Band promo_RingMaster Review

Already proving to be punishingly brutal and mischievous, fiercely rabid and hilarious, Scottish metallers Party Cannon return with debut album Bong Hit Hospitalisation and take all those aspects in their presence and sound up another ruinous gear. Their first full-length is an uncompromising onslaught of slam infested death metal, but equally a party to spill your devilment, hostility, and guts to.

Hailing out of Dunfermline, the 2010 formed Party Cannon released a clutch of demos and singles in their early years before in 2013 uncaging the well-received Partied in Half EP. It put the band on the map for a great many, something the Rob Hobson produced Bong Hit Hospitalisation now looks to broaden with its voracious tempest. From its opening breath, release and band savage and incite, their “extreme comedic brutality” a hellacious onslaught of insidious vocals and psychotic rhythms aligned to technically deranged, sonically frenzied riffs and grooves.

It all starts with Russian Zombie Smack (Krokodil), its initial touch a percussive lead into a heavily imposing stalking of slam death metal. The early lumbering gait is soon a maelstrom of searing intensity and sonic ravishment bred by the guitars of Craig Robinson and Mike McLaughlin, the wounds they cast further pummelled by lethal strokes of drummer Martin Gazur and scarred by the bestial savaging from bassist Chris Ryan and vocalist Stony Reddie. The track is merciless, the ringing in ears after the song’s departure proof alone as it makes tinnitus seem like a serenade, and there is no respite as Jack Vs The Exotic Crustacean takes over within moments with the same intent.

Party Cannon 2015 - Bong Hit Hospitalisation_RingMaster Review   The second track opens with one of a number of smile inducing samples within the release, moments often luring potent chuckles before the savaging just as here. The track itself is pure carnal barbarity and addictiveness, the nagging bait of riffs and energy as big a hook as the squalling variety and enterprise from vocals and guitars. Quite simply you will rupture everything inside getting involved with the track and love every minute, as you will with There’s A Reason You’re Single straight after. The bass of Ryan steals the show here, its throaty pestilence almost inviting as it swaggers within the reckless attack of beats and riffs, though its success is matched by the sonic tempting emerging later which infiltrates the tempest with contagious charm, no mean feat within the brutal turbulence around them.

Keg Stand By Me is cyclonic at best and outright death metal warfare in full swing. Every aspect of band and track makes an excruciating persuasion and though the track maybe does not quite match up to its predecessors it leaves body and emotions in pools of melted flesh and pleasure, wastage waiting to be resuscitated by the brief cruel and invigorating predation of Ectomy Part 1 (Get Back To Work) and the even swifter violation of Ectomy Part 2 (Brutalitarian Rhapsody). The latter is twenty eight seconds of physical defilement, though to be honest even its assault pales in viciousness and corruption compared to the opening of Interested Is Not The Word and indeed most of its exhaustive and evolving landscape of slamming carnage amidst a technically driven sonic orgy.

Another album peak and favourite deflowering of ears and senses comes with Battle Of The Spider-Men!, the track as virulent as extreme untamed sounds can possibly get whilst inflicting the fiercest damage as the swing to its grooves and swagger in its movement cast a deceitful tempting within one severely blistering examination.

The album continues to be as merciless as necrotizing fasciitis on flesh, Screech Even Sold His Body To Science stripping nerves bare whilst gutting the senses and We Prefer The Term Living Impaired lastly tearing up what remains for an irresistible death march within slam driven excessive violation. The pair, as every track upon Bong Hit Hospitalisation has their own identity and form of creative cruelty and it is fair to say that the album, if you can brave through its body wilting surface, does offer more diversity than a great many genre similar confrontations and more imagination.

Bong Hit Hospitalisation firmly hits the sweet spot; devours it, chokes it back up, and then stamps all over it again. Such fun!

Bong Hit Hospitalisation is available from July 7th via Gore House Productions on CD and digitally @

Party Cannon’s “Slamming Down the West Coast” tour with Epicardiectomy (Czech Rep) and Parasitic Ejaculation (CA) dates…

July 10/11 – Oakland, CA / The Oakland Metro (Bay Area Death Fest)

July 13 – Sacramento, CA / The Colony

July 14 – Portland, OR / The Tonic Lounge

July 16 – Salt Lake, UT / TBA

July 17 – Denver, CO / TBA

July 18 – Amarillo, TX / Friendz Bar

July 19 – Dallas, TX / Renos Chop Shop

July 20 – Austin, TX / Red Eye Fly

July 21 – El Paso, TX / Paulina’s Badland

July 22 – Scottsdale, AZ / Rogue Bar

July 23 – Los Angeles, CA / 5 Star Bar

July 24 – Las Vegas, NV / OMD

July 25 – Salinas, CA / RBG

RingMaster 07/07/2015

Copyright RingMaster: MyFreeCopyright

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Fleshdoll – Feeding The Pigs

Fleshdoll pic

If you like your death metal voraciously brutal and old school bred but with the balls to twist that template to its own devious ends, oh also with a tongue firmly in someone’s cheek at times, then Feeding The Pigs from French metallers Fleshdoll is one recommendation to definitely check up on. The third album from the Toulouse quintet is not a proposition sculpting something new or scarcely trodden before but for uncompromising yet mischievously adventurous extreme hostility, it is a thoroughly contagious and satisfyingly exhausting protagonist.

Formed in 2001, it was the band’s debut album [w.o.a.r.g] five years later which really awoke the French underground metal scene to the arising presence and force of Fleshdoll. Released via French label Thundering Records/Manitou Music, the album was well- received and lauded as the band spent their energies playing show after show on the way sharing stages with the likes of Svart Crown, END, Blockheads, and Zubrowska. In 2006 Fleshdoll became the first death metal band to play in Casablanca, bringing their raw spice to the Moroccan scene treading in the line set already by Kreator and Moonspell. The following year second album Animal Factory is uncaged and again the band is garnered in acclaim and attention as they take it on the road, playing with bands such as Malevolent Creation and Loudblast. A line-up change stepped up next before Fleshdoll stepped into the studio with Gorod drummer Samuel Santiago to record Feeding The Pigs. Its triumph has thrust the band into another soaking of eager plaudits and focus, a new spotlight enhanced already this year as they went on tour across France with Loudblast and Benighted, Europe with Resurrection and Cremation, and before that Japan with Vomitory, Beyond Creation, and Defeated Sanity.

The album launches at the listener with its title track, an instantly vicious and ridiculously compelling maelstrom of annihilatory rhythms, Fleshdoll coverguitar violations, and vocal predation. Into that delicious hellish mix sharp and short acid spewing grooves infest the psyche to further spawn eager rapture. It is an immediate enslavement as the rhythms settle into a controlled prowl whilst still making the most intensive demands and threats alongside a devilish swagger which drives the vocals and guitar enterprise. It is an extraordinary track, one as suggested in regard to the album, not necessarily breaking boundaries but certainly caging the essence of the genre in a virulently infectious and explosively incendiary design.

The opener is such a stunning song that certainly for a while the album struggles to match up to its strengths and toxicity though right away both Collateral Murder and A Feast For The Rats give very worthy shots. The first of the two virtually stalks down senses and imagination, its bestial provocation sizing up and crawling all over the ears and emotions whilst rhythms juggle skilfully with their bait whilst the guitars in league with the bass swarm over the listener in horde like fashion but with enough sonic endeavour and creative invention to cast a constantly intriguing premise. Its successor sits back on the tail of urgency initially before twisting its gait and body through persistently changing and unpredictable turns of direction and pace. It also is loaded with impressive craft from guitars and brutality from Santiago but like its predecessor lacks the explosive spark of the first song as well as the vaunt and open smile. Nevertheless the pair healthily feed an already greedy want from the album bred by the title track as too does the following song, The Wolf.

The album’s fourth song lives up to whatever the imagination can conjure for the song name, its vocal roars and the unrelenting jaws of the riffs worrying and tearing at the senses whilst the heavy paws of the bass and crippling swipes of the drums only compound the mouthwatering attack. Spiteful grooves latch onto the charge of the song soon after before its body switches between prowls and all out assaults again and again ensuring expectations have nothing to latch on to and full attention is taken on a feisty captivating ride. The track gets closer to bridging the gap between the starting pinnacle and the rest of the album especially with its fiery hues of the guitar and solos.

Dead Monochrome is a demonic pestilential fury which sears and consumes from its first malevolent breath, a dark venomous scourge complete with deceitful melodic tempting and addiction sculpting grooves which offer respite knowing the rest of the ruinous intent of the protagonist will suffocate any hope. From this point in many ways the album goes through a slight evolution starting with the sinister breathing instrumental The Hollow Men. It is not a big twist in the premise of the release more a stronger investigation of the melodic and adventurous hints shown in A Feast For The Rats but it does bring a slight movement from animalistic intensity to inventive exploration. The Shadow Of A Man right away certainly shows no signs of diminishing its carnivorous appetite, riffs and rhythms uniting for a tunnel of grievous chastisement, but that is subsequently joined by a flood of melodically seeded flumes. As its mass continues to fill ears, the song brings in a rhythmic enticement which in turn moves into an oppressive swamp within which acid running veins expel sonic tempting.

The pair of Ecstatic Random Carnage and King Of Patusan more dramatically bring something distinctly new to the tortuous fun, the first wrapping its savage and imposing weight around the senses before unveiling a weave of furnace bred melodies and psychotic patterns around the gutturally spawned vocals. Imagination is lit right away but given a greater thrill as the song sweeps into a heavyweight passage of invention which is jazzy in its colour and funky in its energy before returning to a keen ravaging of ears and beyond. The second is technical/progressive flavoured metal imagination within a severe and tempestuous domain and again as the previous song easily seduces thoughts, both songs stepping forward to not equal but definitely rival the first peak in the album.

Completed by the excellent North Sentinel Island, an absorbing encounter which can be onerous at one moment and within a single lung’s expulsion seduce with entrancing ambience and beauty, Feeding The Pigs is a thoroughly satisfying and enjoyable intrusion. Certainly Fleshdoll can be compared in varying degrees to the likes of Cannibal Corpse, Napalm Death, Carcass, Bolt Thrower, and Kreator as a reason to check out their album but it shows that the French band is working on forging their own unique path and it is coming along very nicely.

Feeding The Pigs is available via Great Dane Records now!


RingMaster 23/05/2014

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Mass Infection – For I Am Genocide

Mass Infection - For I Am Genocide band photo

A smothering which denies a breath to be stolen and light to pierce its intensive tsunami of voracious intent, For I Am Genocide from Greek death metallers Mass Infection is an immediate treat which just gets better and stronger the more time given to its infestation of ears and imagination. On first encounter the immediately impressive and compelling release is a brutal persuasion which does not leap out as something particularly unique in the grand scheme of extreme metal but as with all releases a concentrated focus needs to be given to which in this case the rewards are rich and full. That is not to say that For I Am Genocide stands alone in the torrent of equally rapacious bands and releases but it definitely has an individualism to its character and striking creativity which is contagiously refreshing.

Released via Comatose Music, Mass Infection’s third album pushes the Livadia quartet into a richer and more intensive spotlight to that already earned by their previous releases. Formed in 2003 the band has been a constant attraction for their technically resourceful and barbarous sound, taking influences from band such as Deeds of Flesh, Hate Eternal, and Severe Torture into their own exploration. Their sound is a brutal engagement and as their previous albums alone have shown the band is able to strip senses and emotions bare with barbaric efficiency. Both Atonement for Iniquity and The Age of Recreation left a formidable mark for the band in presence and sound which made anticipation towards For I Am Genocide more than eager, and it is with this impressive release where it is easy to feel the band’s time to step into the higher echelons of metal is nigh.

There is no initial coaxing or gentle persuasion from the album, opening track Praised By All the Entities charging the ramparts of the Mass Infection - For I Am Genocide 5x5 300dpisenses with flailing riffs and ravenous rhythms heading the onslaught. Their voracious appetite is an immediate unveiling but shaped by a precision and intent which puts accuracy before barbarity. The equally antagonistic guttural vocal squalls rigorously enhance the venomous suasion, their scowling touch strong if not dramatically gripping but adding another coarse texture to join the violating sonic prowess and intrusiveness of the band. It is a masterful magnetic start to the album setting appetite and imagination alight with hunger.

The pestilential rapaciousness of The Scourge of Living Forms is next to aggressively embrace the ears, the track a maelstrom of craft and malevolence which is as exhaustive as it is primordially infectious. The mouthwatering grooves as in most songs do the true enslaving so the vicious rhythmic enterprise and vocals causticity can cast their insidious web. It results in a threat and corruption which buckles knees and destroys emotions but leaves full satisfaction and committed temptation in its wake, an evocation covering the whole of the album as shown by the similarly corrosive Hierarchy of the Highest Abomination. The song is a plague of insatiable riffery and rhythmic disorientation speared by acidic strikes of sonic lures which entwines toxic bait around the ears. Again it is a captivating abuse though the track does reveal the issues, though minor, which prevent the album being thought of as a classic. Not for the last time there is a repetitious element across songs, here incestuously bred grooves from its predecessor making admittedly appealing but openly obvious calls. Such their potency and of other examples like it, this does not deflect from the might of the album but does help that inability to stand aside from the crowd, as does the surface similarity of violence which enslaves the senses making that intensive investigation essential to discover the deep rooted ingenuity.

     Beholding the Throne suffocates the body next, its darker throat of sound and breath a predatory consumption matched by bile driven heavy vocals whilst its successor Unearthly Legion continues the hellacious blight of merciless rhythmic cruelty and horde like attack of riffs and grooves. It also infuses a veining of sonic pathogenic like tempting which ignites further fierce flames in the passions. Both tracks leave body sapped and imagination, not to forget appetite greedy, a lustful want easily sufficed by firstly the asphyxiating malicious web of intensity sculpted by Maelstrom of Endless Suffering and then the hateful depths of Beyond Perpetuation, a track which ensnares, tenderises, and devours the senses before taking them on a hellacious descent into the darkest pit of the album within a soundtrack of crippling rhythmic skill and sonic malefaction.

Nihilism Reigns is a glorious sonic scourge of melodic intent envenomed by addictive toxic seduction which leads the listener blissfully into the closing transgression of the body by The Genocide Revealed, a last drowning within carnivorous intensity and grooved spitefulness sculpted by the band’s expert individual skills honed into one irresistibly hostile trespass. It is a superb end to an even more immense release. Mass Infection with For I Am Genocide has not set new benchmarks for death metal but without doubt provided one of the highlights of extreme and creative enmity for the year so far.


RingMaster 02/04/2014

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Agiel – Dark Pantheons


    Press Release Band Photo for Dark Pantheons (3000px by 2808px)

    Creating a bridge between the past and future, the Dark Pantheons EP from US metallers Agiel is one exciting tempestuous fury drenched in unique invention and rapacious exploration. The release uncages five scintillating onslaughts of brutal death and symphonic black metal with plenty more teasing the appetite, a quintet of songs which suggests that the band’s return is the start of a new exceptional and unique chapter in the history of the Philadelphia hailing four piece

     Formed in 1997, Agiel began with a blackened death metal sound as a conveyance for the lyrical and musical expression of occult philosophy and ritual magic. Debut release The Works of War arrived two years later, pushing the band’s already distinctive and different sound into wider attention. In 2002 the band unleashed Dark Pantheons Again Will Reign, a well-received and acclaimed release which revealed more evolution in Agiel’s creativity and sound, symphonic elements courting the established potent technical skill and merciless aggression. From persistently igniting stages and releasing the three tracked Vessatu in 2005, the band decided to rest for a while in 2007. Five years moved by before the world saw Agiel return in the December of 2012 with a new line-up consisting of one of the founding members of the band vocalist/keyboardist James Taylor, guitarist Jesse Carson (Inmania, ex-Warblade), bassist Rich Buzzell (ex-Abdicate), and drummer Kevin Kostyk (Pig Rectum, Seize the Soul). Exploring the seeds planted in earlier releases to new extensive depths and adventures, the quartet have evolved into a proposition of intriguing ingenuity and sonic expression as evidenced upon Dark Pantheons. Almost switching the attack from ravenous death metal with symphonic endeavour to an immersive and consuming tidal symphony of imagination now in equal tandem with the uncompromising intensity the band is renowned for, the EP opens up a new realm and height for Agiel. The Deepsend Records released incitement contains re-workings of songs originally frequenting Dark Pantheons Again Will Reign, re-imagined and inventively twisted into new breath-taking and exhaustive encounters.

    The title track explodes in the ears from its first second, crippling rhythms and savage riffs turning on their recipient whilst the a3558114463_2 (1)keys sculpt a rising climactic atmosphere. The impact and strength of the song from its first moment hits like a tidal wave; one equipped with a predacious hunger within a sonically bred and melodic storm. There is no time to grip any mental safety rail as the track brawls and seduces the senses with a riveting maelstrom of invention and ferocious rabidity, every second featuring a landslide of activity that it borders on being impossible for thoughts and emotions to digest. Spiteful and alluring, barbarous and seductive, the track is an exceptional concussive joy, a chaotic yet precise and voracious provocation.

    Deeds Rendered Upon the Flesh soars into view on epic orchestral tones and a rousing imaginative awakening of the air, an opening premise which is soon drenched and smothered by an insatiable attack of rhythms aligned to spiralling and splintering guitar enterprise. It like the first is a delicious chaos of musical skill and unpredictable invention leaving senses dazzled and emotions ignited. For all the anarchy and torrential havoc fuelling the onslaughts, the body and heart of the songs are never lost or disrupted which only accentuates the quality and craft of the tempests.

    Both The Awakening and Serpent Masquerade exploit the already induced weakness of body and emotions; each providing irresistible toxicity to embrace and fear. The first of the two is a majestic titan, its muscles tall and threatening over the senses as the guitars and keys stalk with intensive flames of enterprise amidst a now expected rhythmic disorder, whilst its successor avails ears of its own particular scourge of enthralling mayhem and adventurous bloodlust. The clean vocals which parade and entice with anthemic bait in the back shadows of the track are additionally magnetic, an outstanding temper and assistance to the abrasive deep squalls which primarily lead the lyrical ferociousness.

      Dark Pantheons is brought to a close by the equally disorientating and sublime Andromeda, a track which scars and tempts with equal strength and imagination as completes the exceptional release. A mention has to be made about the production of the release, the only aspect which disappoints somewhat and does the band no favours. Its presence is like a tsunami washing away and suffocating too much of the individual ingenuity whilst submersing the whole thing in a cloudy brew lacking the clarity to illuminate all that is impressively thriving within the songwriting and music. The fact that the songs persuade so powerfully is a testament to their and the band’s mastery. With additional material set for later this year and a new full length album in production for 2015, Agiel has emerged as a tour-de-force which shows their previous and very satisfying presence as just the warm up act for something very special.


RingMaster 28/02/2014

 Copyright RingMaster: MyFreeCopyright

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Aborted Fetus – Private Judgement Day

Aborted Fetus 2014 band photo

    As shown by their previous trio of albums, listening to Russian brutal death metallers Aborted Fetus is a savage and uncompromising experience which you either embrace or flee from. New and fourth album Private Judgement Day is no exception, the ten track pestilential slab of sonic corruption a pernicious and brutal onslaught. Following its acclaimed predecessor Goresoaked Clinical Accidents of 2012, the new album continues the presence and sound found through previous releases which to be honest does not carve out any dramatically new ventures for band and genre, but with discomfort an imposing embrace and barbaric seduction a healthy toxicity, the album is a tantalising proposition for all extreme death metal fans.

     As their 2010 album Fatal Dogmatic Damage, the new sonic scourge is released via Comatose Music and engulfs the senses in scarring riffs, vicious rhythms, and swinish vocals. Mercy is undoubtedly not in the vocabulary of the band, the album even in its ‘quieter’ moments unleashing pure corrosive venom, and from the first full breath of opener Savage Dominance, the quartet engages in bestial rabidity. The first song emerges from a cinematic drama, a visual plague engulfing the imagination before the band explodes out of the landscape with pure sonic predation from the guitar of Alexander “Meatgrinder” Chernishev. Courted by the heavy malevolence of bass from Roman Kozodoy and the rhythmic antagonism of Andrew, the insidious vocal delivery of Alexander “Implant” riding their onslaught with primal vitriol, the track is a swift and punishing thorn in the senses.

    The strong start is just as violently followed up by Necropolis Demography and Garden of Kidney Stones, the first Aborted Fetus - Private Judgment Day 5x5 300dpicharging head long through the ears to scorch the senses before switching gaits with a slower rapacious tempest and then returning a ferocious speed into its again brief stay. Most songs on Private Judgement Day offer a fleeting fury in length but make up for it in intensity and vehemence. Its successor prolongs the hellacious suffering with its gore encrusted rampage of synapse flailing rhythms and flesh skewering riffing whilst the vocals drain its creator of every ounce of bile.

     Fuck In a Pesthole alternatively rages and stalks thoughts and emotions, drums an arsenal of severe bait and guitars an acid spewing rankling of the imagination. The track like the album arguably offers no real surprises but feeds genre needs with skill and sonic poison before passing the creative dagger to the excellent title track. Opening with a Saw like sample of individual punishment, the track slowly unwinds its murderous intent and incendiary guitar coaxing. Eventually the beast inside cannot be held back and the song turns into another tirade of blistering rhythmic cruelty matched by guitar spite and air depraving vocals. Providing greater enterprise and adventure to its longer stature, the song is a notable peak on the album even if leaving on an unsatisfying fade out.

     The pair of Malignant Pregnancy and Gastronomic Confession suffocates the senses all over again in their similar but distinctive inhumane guises whilst Brown Totem offloads a brawl of mentally spearing sonic atrocity off of a great cinematic keys sculpted intro. The third of the trio emerges over time as a strong moment, its breath finding a restrained but certain variation from the others and an almost gloating swagger to its sadistic incitement.

     Guinea Pig makes another impressive scar on the album, its virulent groove spawned riffing and gut wrenching vocals a magnetic slavery to the emotions within another rhythmic bombardment. Its impressive assault is matched by final track Morning Inferno, the song an equally harsh and destructive slice of savage enjoyment. They both provoke a richness of satisfaction to match and push further that of the album. It is a release which maybe does not go far enough to truly ignite the passions, its sound as expected from the band and comparable to the likes of Disgorge and Devourment, but undeniably it pleasingly delivers brutal death metal in its rawest exacting form. Private Judgement Day is not a classic encounter and has some issues with production of the drums, which at times just distract with the strong tinny snare sound, but it is nevertheless thoroughly enjoyable, in a masochistic kind of way.


RingMaster 18/02/2014

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Perversity – Infamy Divine

     photo-perversityEntering their fourteenth year Slovakian death metal band Perversity is still awaiting that big step into world awareness but has definitely taken a strong and potent swipe at it with new EP Infamy Divine. Six tracks of death metal brutality infiltrated with an invention and melodic tempting which helps guide each track through the ears as adventurous and magnetic confrontations, the release is the witness to a band who has crafted and honed their sound over two decades into an imaginative and uncompromising aural malevolence.

     Perversity was formed in 1995 as a straight death metal band by vocalist Martin Marincak and guitarist Jozef Kosc. Their first two demos, The Embarrassed and Personal in 1997 and 1999 respectively, firmly placed the band in the death metal underground, both whetting plenty of appetite amongst fans and the scene as a whole. From debut album In The Garment Of Lust in 2003 the Prešov band has unleashed three albums, Words Like Poison (2004), Beyond the Reach of Heaven (2008), and Ablaze (2011), all to strong receptions as well as a compilation album and a further demo. Over the same years Perversity has also been through numerous line-up changes and an evolution in their sound moving to a brutal textured incitement and presence. Now with vocalist Juraj Handzus, bassist Slavomir Koval, drummer Peter Jakubik, and guitarist Martin Calko who joined the band just in December, alongside remaining founder Kosc, Perversity is look primed to take things to another level, the Lavadome Productions released Infamy Divine the powerful next step.

     Thumping beats split the air as first track Vermin makes its initial steps before erupting in the ear. Within moments it 1479468_10152130311524228_481101832_nstretches to full height with a dramatic sonic narrative speared by intimidating riffs and an intensifying rhythmic bombardment. It is a towering entrance, demanding and commanding attention with confidence and ease before relaxing into a scourge like onslaught which ravenously consumes the senses whilst dangling a tempting groove and slithers of inventive melodic teasing from within the pestilential ravishing. The drums of Jakubik are especially potent but equally the guitar play and rapacious bass lines around the caustic vocals squalls of Handzus are lingeringly magnetic. The track as shown in hindsight by the rest of the release is straightforward in many ways but fully satisfying and sets the EP off to an imposing start.

    The following Angel Of Prostitution is a formidable back-up, vocals malevolently spilling bile from every gruffly delivered word as rhythms barrack the senses and guitars spark acrid flames of sonic enterprise within the smothering intensity. Not quite as explosive and riveting as the opener the song still grips with intrigue and vicious predation as it stalks and pesters the senses. Its fade-out is a little annoying though only until a brief but elegant piano cast interlude links the track with the excellent Goddess Of Maggots. Immediately gnawing the ears with a torrent of carnivorous riffing, gutturally bred vocals, and deliciously niggling grooves, the track is a ruinous slab of tempestuous contagion, every element as nasty and violently delivered as they are irresistible and toxically infectious.

     Incest Of Flesh continues the new plateau for the release, the track not as immediate and accessible as certainly its predecessor but writhing and twisting with more imagination and mouth-watering invention than the rest. The continuing to impress vocals of Handzus are enjoyably backed up by the even rawer uncultured roars of Kosc whose guitar invention leaves ears and imagination ignited alongside the equally salacious calls of Koval’s bass and the ever incendiary craft of Jakubik. The best moment on the EP by far, though the previous track is not far back in its wake, the song alone sums up the creative power and still awaiting potential of the band.

     Supreme Accusation ruptures the air as the darkest malignant part of the release, every breath and note it spews a virulently rancorous entrapment and violation of the emotions and another unassailable treat to wax lyrical over. Its aural malcontent is in dramatic contrast to the closing Infamous, a just about one minute long instrumental which is quite exceptional. Coated in melodic grandeur and orchestral beauty, the piano and synths brought piece is a captivating enchantment. It blends sinister haunting shadows with emotive radiance and is sensational as well as powerful. Whether it fits in with what comes before is arguable but it is so good who really cares.

     Infamy Divine is a must for all brutal death metal fans; not quite the perfect hostility but with an imagination and skilled employment of expressive  challenging sounds to set it aside from other similar genre bred releases, Perversity has made an extreme statement the metal world should pay attention to.


RingMaster 09/01/2014

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