Tales of the Tomb – Volume One: Morpras

TOTT-processing-plant _RingMaster Review

Dripping blood and viciousness from every note and syllable, the debut EP from Canadian death metallers Tales of the Tomb is the breeder of nightmares and lustful appetites. Volume One: Morpras is a three track execution of the senses, a demonic trespass of the soul inspired by real life equivalents and an encounter which might not be about to turn the extreme metal scene on its head but definitely gives it a nasty assault of murder metal to get excited over.

Hailing from Edmonton and emerging in 2013, Tales of The Tomb draw on the inspiration of horror comics that glorified hideous crimes and creatures, the seed for the band name Tales of The Tomb too, and equally true life episodes of murder, supernatural horror, and real-life terror. These are seeds strikingly blossomed within Volume One: Morpras, in lyric, tone, and sonic brutality. Mixed and mastered by Dan Swano (ex-Bloodbath, Unisound), its goes for the jugular and senses like the protagonists featuring in its concept, an unrelenting trespass continuing across a trio of blood-lusting tracks.

Morpras - EP_RingMaster Review     It opens with Snowtown, a violation inspired by real-life crime of small-town Australia. Within a couple of breaths, riffs are venomously flooding ears as rhythms beat down on the senses like a machete. The raw throated tones of vocalist Connor Adams, potently backed by just as grisly other tones, infest the psyche as potently as the sounds and their enterprise which is arguably less antagonistic initially then the vocal squalls on offer. Swinging rhythms and nasty grooves only add to the gripping adventure too, guitarists Corey Skerlak and Tre Thomas casting a bait ridden web as the bass of Bryn Herbert grumbles alongside the rapier beats of John Thomson. It is an impressive start blossoming in strength and imagination the further into its two and a half minutes ventured, clean vocals alone one of the great additives to the mayhem.

The Pig Farmer steps in next, another slim sonic coaxing the spark to a hellacious confrontation which this time, colours true events of a prolific Canadian serial killer. In no time it is grinding its way into body and psyche, torrents of nagging riffs, spicily intrusive grooves, and vocal pestilence igniting ears and appetite as the band ravishes the listener from every direction with incendiary craft and gripping virulence of sound. It is as corrosive as it is irresistible, a rabid animus fuelled by more of the fiercely pleasing vocal mix and a savage predatory intent.

With a touch of fellow countrymen Dark Century to its fury, as too in varying degrees of bands like Dying Fetus and Cannibal Corpse, the track as the EP is an evocation for a greed for more, a hunger fed by the closing Doctor Death. As the serial killer inspirations behind it, the song preys on ears, taking its time to instil its toxicity but working away with compelling almost cancerous sonic intent from the off. Grooves entwine and work their way under the skin like toxic vines, whilst the body of the song strolls with a deceitful calm as much hued in more classic metal essences as it is in death metal voracity.

The first two tracks whip up a rabidity which takes no prisoners, straight in and swing type attacks, whilst the third is a lingering poison which takes its time to build to its aim but with the same riveting result on ears and pleasure. Volume One: Morpras EP is a stirring introduction to Tales of The Tomb but also frustrating that it is a mere three tempests. Hopefully more bloodletting with follow soon but for now this EP is being hungrily devoured.

The Volume One: Morpras EP is available from November 27th digitally and on CD @ https://talesofthetomb.bandcamp.com/

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Pete RingMaster 27/11/2015

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Absorb – Vision Apart

Absorb_RingMaster Review

There are a few metal bands around the globe with the name Absorb, but certainly standing out in sound alone are the German death metallers carrying the title. Emerging back in 1989, the Bavarian quartet released a pair of demos before splitting up in 1994 but thirteen years later, founders Pfisty and Jochen reformed the band with new and fresh ideas bubbling up to take a sound already unafraid to twist and evolve its death metal seeding, to new potent places.

With a new line-up in place around the original pair, Absorb released Dealing with Pain in 2010 to strongly welcoming reactions from media and fans alike. As their live presence embraced shows with the likes of Obscura, Cannibal Corpse, Pestilence, One Man Army, Sodom, Vader, Hatesphere, The Black Daliah Murder, Morbid Angel, and Arch Enemy amongst a great many over recent years, more personnel changes were gone through, eventually leading to the current line-up of vocalist Volker and bassist Daniel alongside guitarist Pfisty and drummer Jochen who now the unleash the band’s new EP Vision Apart. A gnarly tempest of four diversely flavoured extreme metal furies, the release is a ravenous and rabid confrontation suggesting that Absorb, who recently signed with GlobMetal Promotions, have tapped into a vein of creative venom that could awaken broad attention.

Vision Apart Cover Final_RingMaster Review    The EP starts with a predatory gripping of ears through Perfect Whore, nagging riffs a perpetual tempting as vocals and drums descend greedily on the senses. With the bass a more reserved but no less potent protagonist in the mix, grabbing its moment to grumble within breaks with toxic prowess, the track climbs over the senses and imagination like a serpent. The sonic tendrils of the guitar are as seductive as they are venomous, still flirting with virulence as hostile eruptions unite in a bruising tempest. The track is a superb start to the EP, death metal infused with slithers of other varied metal and noise induced invention.

The following Los Muertos de Hambre is just as flavoursome within its carnal turbulence, again acidic grooves and alluring riffs veining the smog of sonic intensity. Clean vocals bring another enjoyable colour to the forceful prowl, their delivery adding a scent of heavy metal to the creative savagery. Though not quite matching the plateau of its predecessor, the song is a fascinating tapestry of styles and fluid ideas, something definitely fresh and appetising to the more formula genre releases escaping this past year.

The song Undead springs with a similar breeding to the previous track, but quickly revealing its own insidious character in presence and imagination with an impressing mix of vocal enterprise again adding weight and texture to the track. With the bestial sounds at its core and Volker’s great guttural delivery a glorious violation as addictive as the whirling sonic lacing of guitar, the track opener fires up the ears and passions with instinctive ease before making way for closing incitement World Stops Turning.

The final track stalks to the thrash seeded backdrop of driving riffs and rhythmic barbarism interspersed with slower meanders, creating the most destructive and cancerous moment on the release, and another seriously riveting trespass to get involved with. Like Vision Apart as a whole, it is hard to say major originality is being cultivated but the freshness to it all, and the blending of contrasting flavours creates something highly enjoyable and different to contemplate.

Their name might be relatively common but certainly Absorb’s sound has a personality of its own which is very easy to suggest trying out.

The Vision Apart EP is out now.

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Pete RingMaster 03/11/2015

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Pathologic Noise – Gore Aberration

_MG_1153_RingMaster Review

It has been twelve years since the release of their debut album, a period where Brazilian death metallers Pathologic Noise, certainly outside of their homeland’s underground scene, has been a big miss for some and, easy to suspect, a secret to a great many more. We can tell you what consumed the band’s creativity since that release but however the band spent the time, musically they have honed and re-energised their striking style of splatter death metal to invigorating effect. Evidence comes with second full- length Gore Aberration, a carnivorous violation of a savaging as thick in addictiveness as it is brutality.

Bred in Belo Horizonte, Pathologic Noise emerged in 1992 and took little time in making their mark upon the local and in turn Brazilian underground scene. First impressions and successes were reinforced by a trio of demos between 1995 and 2001, with debut album Sodomy and Delight on Flesh awakening broader attention and appetites with its release in 2003. As mentioned earlier, the time for the band between that well-received release and Gore Aberration is a mystery but fair to say it was well spent as Pathologic Noise return more creatively vicious, sonically bloodied, and intrusively potent. Major surprises are maybe a lesser factor within their latest album, yet there is stirring freshness oozing from every raw pore of its virulent contagion, which alone helps make Gore Aberration one of the most enjoyable genre releases this year.

capa_pathologic_online_RingMaster Review     The release opens with Never Ending Blood’n Hate, and an immediate entanglement of spicy grooves aligned to barbarous rhythms. Driven by a ravenous intensity and intent, the track is an uncompromising proposition, especially once the insidious vocal presence, led by bassist Tchescko Suppurator, lays its great toxic tones on the reins of the punishing incitement. With searing enterprise further spun from the guitars of César Pessoa and Claydson Melo, the opener sets the scene and tone of the album whilst igniting the imagination and a quickly greedy appetite.

It is a thrilling start matched by the even heavier footed and predatory Sexual Murder. Rhythmically though drummer L. Muratchas is a more considered protagonist, only unleashing his full venom once the guitars spew tendrils of heavy metal resourcefulness and sonic drama. It is the full-on chewing of the senses through riffs where the song excels especially but fair to say that every second is a thickly enticing lure, emulated and intensified by Pathologic Metal Vision. Again riffs and very often grooves too, descend and nag the senses and psyche like a drill bit on flesh, the merciless torrent of rhythmic barbarity working like a psychotic jackhammer simultaneously. It is a merger reaping havoc across the whole of Gore Aberration and especially torrential and pleasing on the third track.

Master of Suffering flings an infection of rock ‘n’ roll at ears straight way within its instant tempest of sound and attitude, that virulence twisted into a sonic stalking and vocal causticity soon after. The track persistently evolves as an array of imaginative ideas throw temptation into the mix, leading to a great bedlamic but skilfully ordered stomp that employs all ingredients again and again to rousing success.

That psychotic tapestry of sound is never far from the surface of any song within Gore Aberration, always bubbling near if not on the surface as in Bloody Deliriums, a carnal furor firing up an incendiary violation littered with rabid grooves and crippling rhythms, Bass and drums maybe at their most primal and savage here but equally in the following Lights on the Dark Sky. The track is physical and emotional rabidity, a corrosive onslaught but equally a scavenger feeding on bruised senses and through grooves which prey on the imagination as tempestuous rhythms ebb and flow in uncompromising hostility whilst a vocal trespass roams the violent maze of sound with demonic intent.

Pathologic Noise never lower their animus of sound and emotion with the album closing just as sadistic and punishingly insatiable as it had been up to the point of closing pair, Calling with the Deads and War Lust (Queen of Carnal Pleasures), and as cruelly catchy. The first of the final pair roams the senses with a piercing sonic resourcefulness and a wanton rhythmic and riff loaded premise as wild as it is nastily concentrated whilst its successor simply smothers the listener in suffocating intensity amidst a brutal scourge of sound, both tracks thrilling ears and inciting thick pleasure.

Spewing a sound easy to liken to bands such as Cannibal Corpse, Deicide, and Morbid Angel, as many have, Pathologic Noise might not be re-inventing the wheel with Gore Aberration but certainly shows all how great and hungry death metal can really get the body and passions going.

Gore Aberration is released November 2nd via Greyhaze Records and available at https://pathologicnoise.bandcamp.com or http://store.greyhazerecords.com/index.php?route=product/product&product_id=376


Pete RingMaster 02/11/2015

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Warfaith – Wise Man Is Dead

warfaith_RingMaster Review

Though there is an old school breeding to their sound, as debut album Wise Man Is Dead shows whilst storming the barricades, equally French thrashers Warfaith infuse just as potent twists of modern and varied ideation into its ferocious character. It brings a wonderful blend of raw and inventive thrash metal drawing on its various decades, and though the release is definitely recognisably schooled in the genre’s breeding days, it replaces major originality with inventive and fiercely enjoyable rock ‘n’ roll.

Formed in 2012, its origins seeded in many bands such as Violator or Warfare before then, the Nancy quintet quickly sparked their local scene into supporting life with their live presence and their first pair of tracks in Terrorist and Spit on the Cross. The following year saw the recording and release of the Blood And War EP; six tracks released that October helping to enable the band to venture further afield within the metal underground. Now it is the turn of first album Wise Man Is Dead, a release sure to light up ears for thrash around its birth but with plenty to please all of its fans even without stirring up particularly new pastures for the genre.

warfaith-album-face-aplatit_800_RingMaster Review   Influences to Warfaith include the likes of Slayer, Soulfly, Sepultura, Cannibal Corpse, Scar Symmetry, and Pantera, and that hints at more going on than just a vintage thrash incitement as the opening pair of full tracks to Wise Man Is Dead confirm after the sonically enticing Intro. It’s melodically acidic and accomplished coaxing leads into the album’s title track door, it exploding with ravenous rhythms and vocals across a scourge of violent riffs and instantly infectious incitement. The hellacious onslaught relaxes a slither as the track hits is barbarous stroll, the bass of Moon a great steely lure within the sonic web cast by guitarists Jojo and Odian. Driven on by the full roar of vocalist Max and the vicious swings of drummer Igor, the song continually shifts in gait and intensity, enterprise and maliciousness without even lessening its fury before Jesus Sucks erupts with irritable sinews forging antagonistic rhythms within another richly flavoursome weave of enticing grooves and imposing riffs; it all hostile and all thoroughly enjoyable.

Max brings a punkish element to his tones on the track which seems to spark the same in the sounds of Crack’s Whore straight after, the track a tempest which has a thick hardcore whisper to its torrential nagging of bestial riffs and bass grouchiness, and indeed the increasingly raging vocals which also slips in to spoken delivery with the same ire in tow within the attack. Once more the guitars unveil sonic and melodic slithers but primarily the song is a rancorous squall to light the soul, only relenting when it has to make way for the spicily hook loaded revelry of Purgatory. As in its predecessors, twists constantly bring a familiar air but with inventive freshness to the ear, and indeed contagion, which just hits the spot and the want from any thrash fuelled offering.

Terrorist keeps the good times boiling in the system, blood inflamed by the rabid tempest thrust through ears and the vocal union between Max and guest Nico Xanort; their contrasting tones of spite and ferocity a union as enjoyable as the spiralling invention from the guitars and rip-roaring tenacity of the song as a destructive whole. It is a brutal anthem impossible not to enlist in as equally the even more caustically abrasing Furious Pig, and after it, the merciless Kill With Truth. In their joint uncompromising extreme metal turbulence, inviting hooks and sonic endeavour bring individual adventure against the dark hearted aligning of senses battering and inventive drums and an addictive bass tempting, especially in the second of the pair which is a beast of virulent violence and temptation and arguably the most unique and exploratory song on the release, even in its tsunami of maliciousness.

There is no let-up to the musical and lyrical vehemence with Warslave, the track a horde like surge of rancorous bass bait and insatiable riffs pushed on by the great punkish squalls of Max, or Addiction right after. It devours ears like a war machine, pressing on with relentless authority whilst spewing flames of catchy enterprise and impassioned incitement lyrically and emotionally. The song is glorious and once again it has to be said the bass of Moon is wonderfully demonic in its voice and delicious in its growling texture, as shown one final time in the closing Redemption. It is actually the most predictable and thus less impacting song on the album but still brings Wise Man Is Dead to a mightily pleasing close.

It has to be said that Warfaith had us held in the first listen but the hooks only went deeper with ever subsequent listen. Wise Man Is Dead is definitely a release which just gets richer and bolder with every encounter so do give it the time it deserves; you will be rewarded.

Wise Man Is Dead is out now via most online stores.

Pete RingMaster 17/09/2015

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Carnivora – The Vision EP

mkramer_Reputation Radio/RingMaster Review

Boston metallers Carnivora first caught our attention with an appearance on the excellent Bluntface Records compilation Operation: Underground. It featured a track from the band’s debut album Eternal, which after investigation turned out to equally be a stirring and attention exciting proposal. Now the band returns with the vicious exploits and temptations of The Vision EP, a ravenous and thrilling declaration of all the band’s skills and even bolder creative enmity.

Everything about The Vision is a step up from their impressive and acclaimed 2013 debut, the EP’s four tracks a cauldron of fierce imagination and volatile invention cast in maelstroms of diversely sculpted extreme metal. Groove and melodic metal enterprise colludes with death and thrash animosity in slabs of unpredictable and brutally irritable incitements, but furies ripe with captivating sonic adventure and melodic expression. Its release follows a successful couple of years which saw the band tearing up festivals such as the New England Metal & Hardcore Festival, Rockstar Energy Mayhem Festival, The Summer Slaughter Tour, and Rock And Shock Festival, all last year, with their merciless sound and share stages with the likes of Cannibal Corpse, Behemoth, Overkill, Trivium, Job For A Cowboy, Avenged Sevenfold, Morbid Angel, Shadows Fall, and many more. The Vision is Carnivora now snarling viciously at broader and more intensive spotlights and a global awakening to their presence sure to be on the cards such the EP’s dramatic persuasion.

CARNIVORA_VisionCover_jpegReputation Radio/RingMaster Review     It opens with A Vision In Red, a song venomously driving through ears straight away, swiftly getting under the skin and invading into the psyche. Riffs and grooves from Cody Michaud and Mike Meehan swarm maliciously over the senses, their addictive presence and prowess addictive bait to which the raw vocal squalls of M. Scott Lentine unleash a diversely delivered and magnetic hostility. It is a gripping proposition, the barbarous swings of drummer Dan DeLucia and serpentine tones cast by the bass of Cam Hunt, an addictive spine around which the guitars blossom and expand rich acidic textures bred in sonic imagination. As unpredictable as it is fascinatingly virulent, increasing in both the further it evolves its creative landscape, the song provides a tremendous start to the release.

Its success is quickly matched by Pessimist’s Tongue, its opening suggestive ambience subsequently whipped up into a tempestuous climate of blistering and rancorous intensity. The guitars lay out a melodic invitation even in the stormy climate of the song, a beckoning impossible to resist despite rhythms hailing down on them and the senses. The vocals, singularly and as the band, soon bring another shade to the encounter, offering a cancerous trespass and rally cry for thoughts and emotions. The song is a glorious violation with underlying temptations such as an understated but seductive lure of keys, solidly backed by Razors & Rust. Arguably more restrained than its predecessors, well slightly more merciful, the track stands toe to toe with the listener raging vocally and emotionally whilst guitars again entangle their enterprise around body and imagination. It does not quite have the spark of the first two tracks but easily entices ears and thoughts into exploring its rich depths and textures to a success similar to that found by those before it.

With a thrilling end to its creative ire, the track departs for EP closer The Reek Of Defeat to provide a final bracing and abrasive ravishing. It carries an almost mischievous flirtation to its melodic design and adventurous gait yet there is little about the song which not predatory or fuelled by bad blood. Its consuming maliciousness leaves ears ringing and emotions high and enjoyably completes a thrilling onslaught of a release.

Carnivora has climbed to new plateaus with The Vision EP yet you can only feel it is just the start of new and greater creative grudges, which in turn is a thought and anticipation to savour.

The Vision EP is available from 23rd June via Manshark Entertainment @ http://carnivora.bandcamp.com/ and http://carnivora.bigcartel.com/

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RingMaster 23/06/2015

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Castrator – No Victim

photo by Jorge Riaño

photo by Jorge Riaño

It is fair to say that the focus of plenty of the carnage and brutality cast by extreme metal songs protagonists are women; ‘weak’ dispensable victims to suffer and be abused as a theme. But now they have a voice and a just as lethal instigator to lead an uprising in the shape of death metallers Castrator, a band turning the tables and dishing out their own unrelenting revenge and creative ruin. The band consists of five pissed-off ladies, but each is also a skilled musician creating a voracious sound and in the shape of the No Victim EP, a debut release to match.

NYC based Castrator is made up of an international and prolific musicians hailing from Colombia, Florida, Mexico, Massachusetts, and Norway. Identities and background are scarce to be honest but the line-up of the band is vocalist M.S., lead guitarist/vocalist P. Serrano, rhythm guitarist M.D. Åkesson, bassist Robin Mazen, and drummer C. Perez. Their sound is sheer death metal ravishment which has led to references to Cannibal Corpse, Cerebral Bore, Dying Fetus, Incantation, Obituary and the likes coming their way. They expel an emasculating extreme brutality which certainly on No Victim rages lyrically, sonically, and emotionally on the listener like a primal tsunami.

frontcover     The first intensive examination comes with Honor Killing, a fury of ravenous riffs and excruciating rhythms from its first breath. There is no escaping its ferocious and rabid onslaught, or the melodic enterprise which subsequently veins the tirade of viciousness. The song also has a core swing to its tempest which is as contagious as the predatory riffery driving the incitement, whilst vocally the venomous deliveries have an intensity and uncompromising expression which instils even greater hostility in every syllable spilled. It is fair to say that the band is not worrying the outskirts of originality with the song but it barely matters in the thrilling abusing of ears and igniting of pleasure.

The following Brood has an even heavier destructive breath to its raging, every riff seeming more rabid and rhythm malevolent than the one before, a potency matched by the guttural vocal confrontations. Featuring a guest solo from Immolation guitarist Robert Vigna, the track grows in stature and dark devilry with every minute of every listen, bass imagination and guitar grooves especially flavoursome with their toxic endeavours.

The Emasculator opens on a sample from the film Hostel 2, male destruction the fuse to an unbridled and corrosive sonic devastation of the senses. Hooks and grooves again add inviting spices to the wall of rabid maliciousness but it is an avalanche of sound and rancor unafraid to twist and turn with unpredictable ideation and at times doom bred enmity. It is an outstanding track quickly matched by the EPs title track, itself a cancerous trespass of sound entangled in wiry grooves and blistering sonic spite aligned to a rhythmic tirade and discordance. As its predecessor, the track is a web of at times understated imagination, little turns and sparks of invention swallowed by the onrush of sonic and rhythmic violence but bold enough to still reveal their qualities.

The final two songs offer the strongest uniqueness upon the EP, and all leave appetite and bruised senses hungry for more. ‘Hell hath no fury like a woman scorned’ the saying goes, and now armed with the craft and attitude of Castrator, the worm has turned within extreme metal with exciting results.

The No Victim EP is available on CD now via Horror Pain Gore Death Productions @ http://www.horrorpaingoredeath.com/store/hpgd109.html and digitally @ https://castrator.bandcamp.com/album/no-victim-ep


RingMaster 06/05/2015

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Whisper of Death – Noise of Obstinacy


Noise of Obstinacy is an album which if you are in the mind to, you can pick at for its lack of real originality and at times over reliance of certain sounds and textures within its ten ravenous offerings, but at the end of the day the debut album from French metallers Whisper of Death is still one unrelenting buzz saw of enjoyment. Neck muscles and flagging energies are the testament to that. Accomplished and rigorously captivating with a seemingly Cannibal Corpse and Cryptopsy inspired death metal voracity with flavoursome extras, band and album leave ears and appetite gratefully satisfied and often excited.

Whisper Of Death hails from Ablis, a small village south of Yvelines and were soon drawing potent local attention after forming with their live presence which has seen them support the likes of Manimal, Leng Tch’e, Pitbulls in the Nursery, Black Bomb A, the Spirit of the Clan, and Betraying the Martyrs. The quintet released first demo Desossage in 2008, an introduction well-received by the band’s fans and underground. Its unleashing though was followed by a low key period for the band which saw a line-up change and one of its guitarist involved in a serious accident when he was hit by a car. It was unsurprisingly a slow time for the band but as soon as they were able to return to full strength, Whisper of Death released second demo Epilepsy in 2012, followed by the resumption of the band’s live attack. Last year was predominantly given to the creating and recording of Noise of Obstinacy at Studio Dark Wizard with François Ugarte (Pitbulls in the Nursery). Mixed and mastered by Alan Douches at West West Side Music (Nile, Mastodon), the album was uncaged towards the end of 2014, pushing Whisper of Death instantly towards a new attentive recognition.

     Cadaveric Discharge sets the ravaging off, emerging from a swarm of flies to grip ears and imagination with its artillery of lethal beats amidst a squall of savage guitars. It is a vicious Whisper Of Death - Artworkentrance but equally a magnetic one with a contagious swing lining emerging grooves and ferocious riffing. The vocals equally grab attention, a dual assault bringing variety to the malevolent delivery of venom soaked words and growls. With all songs sung in French and being linguistically challenged, lyrical adventures are unknown but there is no mistaking the rancor behind them. Turning more bestial with every second, the track is a formidable and pleasing start to the album backed right away by Cemetery Market.

Almost mischievously toying with ears with a quirky sonic flirtation, the second track needs little prompting to throw off the masquerade and show its malicious intent; ragged riffs and hostile rhythms colluding in one precisely honed provocation which is unafraid at times to uncage its darkest animosity and in other moments turn on expectations with striking and slightly warped invention. Across the album there are definitely certain twists and moments of ingenuity which break songs away from feeding assumptions and showing recognisable influences, maybe not enough to be honest, but as here when it occurs even in brief temptations, it turns songs and album into a very potent and potential fuelled proposition,

Both Desossage and Organ Bath pleasingly stir up air and senses, the first a blaze of raw antagonism with shot gun cocks and virulent scourges of tangy grooving making tasty additives to the infectious turbulence around them. The second has a slower gait, virtually lumbering along with low slung grooves and barbarous rhythms. There is still a ferocious intensity and energy to the encounter of course, just with a more pestilential intent rather than rabid instinct. Each hits the mark of enjoyment if not making startling impacts; something the following OBF has far more success with through its avalanche of rhythmic brutality and sonic toxicity. The track is a glorious truculence of sound and attitude, every swing of drum sticks leading to deranged bait whilst venomous grooves provide a sonic straight jacket twisting the psyche with their enterprise. With no lesser a devilish persuasion from the raw vocals and dark hearted bass rabidity, the track is the most adventurous and strikingly unpredictable on the album, and further reason to suspect Whisper of Death will emerge from the crowd if not now some point in the future with this kind of adventure.

Happy Burial whips up a blistering senses flailing storm next, not quite emulating the endeavour of the previous track but creating a bedlamic tempest to easily devour and enthuse about before Surgical Strike unloads its rhythmic torpedoes and sonic rapacity. Once again the track feeds the wants and matches levels already breached by the album but just does not go far enough to forge something truly remarkable. Nevertheless with a great agitation and psychotic mania to the changing assaults of the drums as the bass again finds the most salaciously dark lines to seduce with, the track has attention and pleasure tightly grasped.

Torture for Dummies bounces around like a serial killer waiting its moment to strike, a certain glee and excitement driving hooks and riffs as well as the catchy stride it initially offers. Of course this all plays out within a harsh landscape of sonic cruelty and toxic emotion which is just as bracing as the creative turmoil within it and helps turns Cannibalism Airlines into a visceral theatre of torrential spite and violently wanton rhythms. The track is another major highlight of the album, guitars and bass a flurry of intimidation and fury in their own right.

Battlefield brings the exhausting brutality to an end but not before creating its own peak in the album with a battering of flesh scarring beats, intrusively lingering grooves, and noxious vocals. It is the lighter caustic flirtations of imagination and psyche twisted endeavour which ignite the song predominantly though and ensures the album ends on a real high.

Noise of Obstinacy is as its title declares, a release doing its own things with zeal and defiance. It is not trying to reshape the walls and originality of death and extreme metal but increasingly it thrills and leaves emotions blissful, and I know which I prefer.

Noise of Obstinacy is available now digitally and on CD @ http://whisperod.bandcamp.com/


RingMaster 28/02/2015

Copyright RingMaster: MyFreeCopyright

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