The Replicate – A Selfish Dream

artwork_RingMasterReview

A riveting mix of progressive and technical death metal, A Selfish Dream is one of those releases which may not have you falling back in love with the genres breeding it but certainly inspires a new appetite to go exploring them and the inspirations to the project such as Death, Cynic, Atheist, and Carcass. The new EP from LA based band The Replicate, it is a brief imagination stroking, ear striking proposal as unpredictable as it is highly enjoyable.

The Replicate is the brainchild of Sandesh Nagaraj whose CV includes being part of nineties Indian death metallers Myndsnare, Extinct Reflections, and Stranglehold. Uniting with a host of friends for his project, guitarist/bassist Nagaraj needs little time to grab the imagination and keen attention with A Selfish Dream, its opening track casting a web of sonic and technical temptation.

thereplicate-artwork_RingMasterReviewChainsaw Of God instantly wraps a spicy groove around ears, a persistent lure soon joined by a canter of robust rhythms and the raw throated rasps of guest vocalist/lyricist Morgan Wells. His irritable yet compelling tones stand astride the driving beats of Ray Rojo and Nagaraj’s nagging riffs. It is a tenaciously magnetic affair especially when grooves with clinging spice entwine the impassioned ire of the track and a solo from William Von Arx which brings an almost sinister cosmic shade to the outstanding track.

The following Eugenicide has its own suggestive drama in sound and presence, grooves again evocatively wrapping the senses with an almost picturesque quality as the predacious gravelly tones of vocalist Jordan Nalley trespass ears with his rich words. Also featuring the dark alluring basslines of Kaitie Sly, the track is an absorbing, haunting assault as different in nature and captivating enterprise to its predecessor as it is similar in compelling invention.

A rawer edge and climate descends through The Saline next, its initial sonic intrusion the spark to another virulent canter twisted into a passage of varying energies and unpredictable imagination. Arun Natrajan takes on vocals and lyrics for the EP’s third song; he also providing a rapacious growl within a controlled yet tempestuous surge of enmity and corrosive yet inviting sound.

Completed by the short instrumental of its title track, a shimmering piece of emotional starkness, A Selfish Dream is as gripping as it is imposingly intrusive. Its briefness of length is the only niggle, each song successfully never pushing its stay but combined providing a mere ten minutes of excellence; a moment in time admittedly very easy to replay and en joy time and time again.

A Selfish Dream is out now @ https://thereplicate.bandcamp.com/releases

https://www.facebook.com/thereplicateband

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright

Unheard Before The Wake – Humanity Burning

UnheardBeforeTheWake_RingMasterReview

It is fair to say that Humanity Burning took its time to fully convince, for its ideas and elements to fall into place within ears and understanding, but when it did, the new EP from UK melodic death metallers Unheard Before The Wake showed why the band is beginning to be strongly noticed within the British metal underground. Unleashing five intrusive tracks which devour the senses while intriguing the imagination, the band’s sophomore EP emerges as an attention grabbing trespass.

Formed at the end of 2013, the Sutton hailing Unheard Before The Wake has increasingly lured fans and keen interest through the release of their self-titled debut EP on 2014 and more so a live presence which has seen the quintet share stages with the likes of Xerath, Meat Train, and A Vulgar Picture. Their sound is a tempest of extreme flavours unafraid to entangle black and classic hues into its death and melodic metal bred invention. Humanity Burning is the band’s new national assault on ears, a release which maybe does not always fit perfectly with personal tastes but certainly left them with an appetite for more.

The EP opens with its title track and a nagging of riffs, their whiney hue like raw nectar swiftly grabbing keen attention further enhanced by the barbarous torrent of beats and the great gnarly tone of the bass. As its predatory nature continues to ignite the appetite, the track rumbles and grumbles like an awakened beast, subsequently stretching into its prowling gait and animosity as the heavy throaty growls of vocalist Chris Rossiter enter the scene. At this point the guitars of Dylan-Thomas Chinchen and Ryan Adams expand their own tapestry of enterprise and sonic flavouring, the song blossoming into an unpredictable and increasingly rousing proposition. On the initial listen, it almost seems to have too much going on in its rabid assault but with time each twist and turn skilfully flows and in turn impresses. The personal taste thing does kick in as cleaner vocals make their appearance, an addition which just does not work for these ears, though the only time something grates against rather than benefits the song.

Unheard Before The Wake Cover Artwork_RingMasterReviewLurker steps up next, again with an opening which demands attention. This time the invitation is a threatening collusion of sound and texture, almost asylum like in its tone and vocal cries. Framing the drama, drummer Jasper Brownlow and bassist Adam McGuinness again place wonderfully grouchy bait which only finds greater impact as a thrash bred surge of riffs and energy erupts. As its predecessor, the song also flows through intensive and slower predacious moments to keep expectations on their toes, especially the almost theatrical passage of the lyrical protagonist’s introspection which comes forward.

It is clear Unheard Before The Wake know how to compose a song to make an immediate impact, The Pluto God also stirring up ears in seconds with its fierce waltz of grooves within an intimidating rhythmic shuffle. In no time from that great start, the song is stalking the senses and psyche with the excellent heavy throated growling of Rossiter a potent lure in the corrosive storm. The twist of classic metal seeded vocals derail the track a touch again for these ears though it is soon back to its former glory with raw guttural vocals leading to a weave of tantalising craft and flavours.

The EP’s best track, Right To Die, comes next; it a maelstrom of intrusive rhythms and riffs bound in roaming grooves and melodic toxicity which swiftly inflames air and ears. Clean vocals do make another appearance but in spoken form to great effect, providing another texture in the resourceful blaze of sound and imagination.

Completed by an instrumental reprise of its title track, Humanity Burning is a release which takes its time but makes a thoroughly enjoyable persuasion of the potential and readymade qualities of Unheard Before The Wake. Their sound still feels like it is in evolution which only adds to their promise. The press release suggests Humanity Burning is something fans of The Black Dahlia Murder, Carcass, Dimmu Borgir, and Cannibal Corpse might take a shine to; something easy to agree with. As for the clean vocals, we suggest the band really does not need them with everything else boiling up rather nicely.

The Humanity Burning EP is released April 29th @ https://unheardbeforethewake.bandcamp.com/ and most online stores.

http://www.unheardbeforethewake.com/   https://www.facebook.com/unheardbeforethewake

Pete RingMaster 28/04/2016

Copyright RingMaster: MyFreeCopyright

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Offal / Zombie Cookbook – Split 7” EP

 

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There is a certain individual sickness to the visceral charms of Brazil’s most prominent and inventive extreme metal bands, an insidiousness which seems to coat riffs, grooves, and indeed songs. That sickness is a creeping toxin flavouring the new split release from Offal and Zombie Cookbook too; a poisonous and malevolent offering which worms under the skin with infectious temptation. It is not a release which actually startles, not initially anyway, but over time emerges as a visceral sonic assassin to which imagination and emotions become playthings. A swift and lethal scourge of the senses from two bands which are potently emerging on the broader extreme metal scene, the 7” split comes courtesy of a label, Black Hole Productions, which is no stranger to unleashing underground treats from band such as Lymphatic Phlegm, Xxx Maniak, Haemorrhage, and Gruesome Stuff Relish.

Offal is first up on the release, a quartet from Curitiba consisting of vocalist André Luiz, guitarist Tersis Zonato, bassist João Carlos Ongaro, and drummer Igor Thomaz. To the release of their well-received self-titled debut album in 2006, the band has added a second full-length and a string of splits with bands such as Bowel Fetus, Anatomia, Decrepitaph, and Mausoleum, all helping to increase their reputation and stature in the underground. References to Autopsy and Carcass have been cast over their sound, and as opener Dementia Trash. The Cult Of The Low-budget Cin devours ears it is something to agree with yet only slightly flavours the band’s voracious sound. Riffs are an immediate scrub of aggression in the song, swiftly offal1-680x406backed by the thunderous and turbulent assault of rhythms. Lorded over by the dark coated cavernously toned growls of Luiz, the track is a mix of predacious stalking and rabid intent. It is a rather compelling proposition gaining greater strength of persuasion across its length, imposing sonically and in success as its narrative courts the craft and blood-fests of cinematic gore/cult b-movie movie pioneers like Herschell Gordon Lewis, Ed Wood, and Roger Corman.

A great incitement for ears and imagination, the band’s second proposal Spinal Extractions Fiend For Blood is a more savage and irritable, no make that violent encounter, and just as highly palatable even at its mere 45 seconds. It hangs around enough to get the teeth into and to ignite a healthy appetite but is too short to get as much satisfaction out of it as wished, though that want is soon fed impressively by Zombie Cookbook.

foto-para-pagina-BHP-680x451The band’s name and indeed that of its members, in vocalist Dr. Stink, guitarists Horace Bones and Ed The Dead, bassist Purgy, and drummer Dr Freudstein, alone provide colourful and mischievous bait, a lure instantly backed by their first track Motel Hell. There is thrash bred ferocity to the charge and hostility of the song, energy and creative adventure which is as psychotic as it is groove infectious. The vocals equally have a character and captivating rabidity to them which only ignites ears and enjoyment, bringing a chunk of the originality which revolves within an accomplished if familiar template of sound.

Its voracious appetite and body only gets more deviously addictive and magnetic over time, much as that of its successor Eredità Maledetta. The first of the band’s two songs ends on a great finale of pure unbridled thrash contagion, a sonic tirade plainly contrasted by the demonic seeded entrance of the second, though it does not take long for the track to expel a spiteful breath and leap into its own ravenous destructive tempest. It also is much shorter than its companion, but does offer two minutes of furious extreme metal combat to reinforce a greedy appetite as sparked by the EP to explore the band, something which applies to Offal also.

It is hard to suggest you will hear anything dramatically new on the split but with undeniably impressive songs both bands make invigorating additions to the full underground arena of extreme OFFAL & ZOMBIE COOKBOOK - Split 7-ep - CAPA PROMO ZCKmetal. Both Offal and Zombie Cookbook could be looking at infiltrating the broadest spotlights sometime soon too, especially if they continue uncaging beasts like those on their shared offering.

The 7” Split EP is available now via Black Hole Productions @ https://blackholeprods.bandcamp.com/album/split-7ep

http://www.offalgore.com/       http://www.zombiecookbook.com.br/

RingMaster 05/03/2015

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/

Lesch-Nyhan – Lesch-Nyhan Syndrome

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

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

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

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

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

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

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

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

https://www.facebook.com/LeschNyhanMetal

8.5/10

RingMaster 16/07/2014

Copyright RingMaster: MyFreeCopyright

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Descend – Wither

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    Unleashing their second album Wither, Swedish progressive death metallers Descend show themselves to be one of the more captivating and skilfully imaginative emerging bands on the scene. Consisting of eight admittedly at times labour intensiveadventures the release is a compelling and richly appetising slab of creative and passions sparking metal. Every twist and turn of the album absorbs and challenges thoughts in just the right impacting way and with only arguably the length of a few tracks making a slight issue Wither is a fine and exciting provocation.

     Formed in 2003 with its current line-up in place since 2008, Descend has, from starting out with we have been informed a thrash metal attack, evolved and honed their sound in to the impressive confrontation facing the senses on the new album. A trio of self-released releases between 2006 and 2009 sparked some attention but it was debut album Through the Eyes of the Burdened which sparked greater awareness of the band. Released in 2011 via Supernova Records to strong responses, it was followed by numerous impressive shows and festival appearances in countries such as Germany and Canada as well as a performance at the Metaltown festival in Gothenburg the following year. The new Inverse Records unleashed Wither has the invention and craft to elevate the quintet to new levels and though not quite the perfect record you feel is waiting inside the band, the album is an invigorating and refreshing tempest of progressive and death metal ingenuity.

     A magnetic drum lure starts album and opener Confined By Evil off before instantly intensive riffs with an eager groove to Descend-Cover-smalltheir lilt search the ears. Their touch is acidic yet powerfully enticing as they scrub the senses insisting on attention as the rhythmic acrobatics of drummer Jonathan Persson, already wholly impressive, pounce dramatically behind the song’s addictive call. It is a rich and strong entrance to the song, instantly contagious and expressive in its melodic narrative and emotive crafting. A swift kick in of rapacious energy and malevolent intensiveness takes the enticement into new domains of intimidating and invention with the rasping caustic tones of vocalist Nima Farhadian L. offering a ripe and pungent menace which borders hostility whilst the sonic design sculpted by the guitars of Andreas Lindström and Alex Wijkman bring a simultaneous bewitching and intrusiveness. The track, much like the album, needs time and numerous plays to unveil its depths and incontestable persuasion, its presence demanding and greedy on the senses but with a vast expanse of imagination and bold adventure the song eventually proves itself to be an exhausting but immense start. At near on nine minutes the first track does push its limits like a few subsequent tracks with its length, the surface engagement an overwhelming merciless want on the listener but again given the time mentioned it convinces all is as it should be.

  The following more brutal The Rancorous Paradigm brings a gentle and appealing opening with a melodic infusion to its grazing riffs, though the bass of Justin Biggs has a carnivorous tone which stalks the song from start to finish to provide an immediate predation. Another track which takes time to grip the imagination it is a sinew swinging beast of addictive grooves, sonic temptation, and rhythmic tantalising all ridden by the again gutturally bred pestilential vocals. From a decent song the first time around it emerged as one of the favourites again giving evidence of the patience and focus you need at times with Wither.

    In Hours of Despair invades the senses next offering sonic squalling and tempting from the off with the ever impressive rhythmic juggling and invention of Persson stealing not for the first or last time a big chunk of attention and praise. At times lumbering with a brutish maliciousness and in other moments flirting with an energetic frenzy driven by the infernally enjoyable drum maelstrom and guitar driven enterprise, the song twists itself into a dramatic melodic weave with excellent clean vocals. At this moment the song is like Stone Sour meets Carcass before breaking back into the original harsh attack of the song. It is an absorbing encounter which like all tracks provides extra rewards with each listen as does the commanding Severance. Arguably less exploratory than other songs but certainly not neglecting a melodic and sonic merger of styles it is a ripe and impacting bruising on the senses.

    A lull is provided by the instrumental title track, a striking melodic piece which is attractively crafted and presented but feels out of place where it is, maybe placed at either end of the album would have left it feeling more at home in the design of the release. It is soon forgotten through the virulently corrosive and imaginative presences of Diabolic and From Grace To Grave. The first of the two blends a beauty and the beast contemplation in sound, its primal jaws firmly entrenched in the flesh of senses and thoughts from the start but tempering the fury with spikes of varied metal flavours and a sonic acidity which is melodic if scarring. It is a masterful caging of the imagination and emotions soon matched by its successor. Though the track is not quite as instant a persuasion as its predecessor the ravenous squall of rhythmic and sonic causticity is irrepressible and riveting.

   The album closes with the twelve minute Sundown where again length makes a bit of an issue, urges to return to the album’s start breaking out well before the song’s admittedly enthralling and pleasing body has made its departure. The exacting song still makes a powerful end to a very impressive album even if there is a certain indefinable spark missing which prevents the release from making the mightiest impact. It cannot however prevent Wither and Descend from placing themselves in a very rewarding and inciting spotlight which should take the band into a new plateau of attention within progressive death metal.

Wither is out now via Inverse Records.

http://descend.se/

8.5/10

RingMaster 25/01/2014

 Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds Of Life – Invivo[Exvivo]

 

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    With more of a storm than a buzz brewing up around US metallers The Last Ten Seconds Of Life, the Mansfield, Pennsylvania quartet unleash their new album Invivo[Exvivo] to ravage not only their already seemingly submissive homeland but equally Europe and the UK. Ten tracks of virulently malicious and ridiculously compelling extreme provocation the album is a ferocious mix of filth clad aural brutality. A voracious maelstrom of everything from deathcore to grind, groove to nu metal and a flood of plenty more essences poisoning its vitriolic glory, the band’s sound takes no prisoners but neither does it leave the listener searching for rapacious imagination or feverishly rewarding adventure. Some of the tracks take longer to pull a submission than others from the passions but ultimately all succeed on one quite exhausting and riveting scourge.

     Formed in 2010 and consisting of guitarist and songwriter Wyatt McLaughlin, vocalist Storm Strope, bassist Anthony Madara, and drummer Christian Fisher, The Last Ten Seconds Of Life not only build on but stretch strenuously the seeds sown and bred on previous releases, the Justice EP of 2010, debut album Know Your Exits in 2011, and the Warpath EP of the following year. Invivo[Exvivo] takes everything to new impacting levels, its impressive savagery and inventiveness the band at a new vicious creative height. Released by Workhorse Music, it is fair to say that the album is not quite the perfect beast, at times missing a few opportunities in a torrent of successes to tantalise as it rips out the jugular, but there is never a moment or second offered which does not flare up the senses and passions into an excited state.

      Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), Invivo[Exvivo] last10seconds_infvivo_finalcoveruncages Fertile Steps first to leap upon and savage the senses. The opening breath of the song is an antagonistic brawl and things only intensify as rhythms punch and slap with merciless and spite whilst riffs grind out insidious grooves around the impressive varied venomous squalls of Strope. From the first minute of his appearance the vocalist impresses and leaves ears as hungry for his destructive narrative as the carnivorous sounds around him. The track itself has a definite Slipknot meets Carcass feel at times but also with an unrelenting drench of Pig Destroyer saliva soaking the results.

    The immense and thrilling start is soon taken up and further by False Awakening and the following A Dime A Dozen, both sonic carnivores which tear through the ears with an intensive heavyweight predation and rhythmic stalking. The first comes from the violent throes of demons, in tone and effect soaked vocals which mingle with the guttural spewing which spills bile with every outpouring. The track stomps as it comes to an early conclusion allowing a breath to be swallowed before its successor produces a pestilential fury of unpredictable and persistently shifting sounds and flavours. Grooves and carnal riffery are irresistible bait in the torrential contagion and malevolently cantankerous heart of the confrontation. It is the first major pinnacle of the album though not that many steps above what came before to be honest such the impressive start of the album.

     Numbskull is the nasty spawn of a hard core and grind union; a track which rampages over and slowly preys on its victim with a continually switching creative intent, again a Slipknot like prompting with Devildriver animosity and Brutal Truth hatred a suggestive texture. It is a downtuned sonic pestilence easy to be consumed by and drool over as is the next up tide of ferocity The Face, a track which scars and seduces simultaneously though both abilities come with an untamed rapacious corrosion.

    Morality emerges from a winding sonic enticement initially before placing itself intimidatingly around the ears to take rhythmic and melodically bred violent swipes. It is a striking entrance but soon losing a part of its compulsion as it employs spoken vocals/sample within a maze of guitar sculpted descriptive noise. The track is strong and constantly slipping in a prod at the appetite but is devoid of the spark which made the previous tracks so irresistible. Arguably the song is too adventurous for its own good and certainly there is not the same fluidity linking all its imagination as that impressive elsewhere on the release. Its ‘weakness’ is instantly amended by Haste Makes Waste and Deadfast though, the first a magnetic tsunami of intensity speared by a great and varied swinish vocal delivery from Strope yet again. The second of the two is another best track contender, niggling hypnotic grooves opening up the throat of the song before its roar and ferocity storms the barricades with a delicious part hardcore, part industrial metal, and all extreme metal esurience. Relentlessly twisting its body and potent resources around and within itself, it is an exceptional blitz of ideas and flavouring which just gets better and better with a great sludgy intensity to its closing incitement.

    To be honest Skeletal took more time than any of the songs to fully convince, though it’s impossibly black and malignant heart and lethal sonic emprise was swift in its captivation. Eventually it did prove itself to be one of the strongest hatefully impressive blessings on the release. Its triumph makes way for the closing Ego Death, a seven minute plus infestation of grooves and rancorous imagination which gnaws away at and suffocates the senses with the densest malevolence jaundiced assault on the album. It completes in Invivo[Exvivo] an outstanding , absorbing, and invigorating intrusion which without being the complete devil is a demon record to make The Last Ten Seconds Of Life your next best brutal friend.

www.facebook.com/thelasttensecondsoflife

9/10

RingMaster 16/01/2014

Copyright RingMaster: MyFreeCopyright

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Morgue Orgy – The Last Man On Earth

    We play in a bandThe Last Man On Earth is one of those malevolent pestilences which rather than run and hide from its toxic virulence you just have to dive head first into the exhaustingly inventive depths of melodic blackened death metal. The debut album from UK metallers Morgue Orgy, it is a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination. It is mischievously psychotic, rampantly schizophrenic, and masterfully vicious and one of the most tempting rages of extreme sonic violations to come from the British Isles in quite a long while.

     Exploding from the darkness in 2008, the sextet from Birmingham has emerged as a tour-de-force at combining a diversity of sound and ingenuity into a melodic death metal proposition as shown by the album which bewitches and savages with equal intensity. Drawing comparisons to the likes of Carcass, The Black Dahlia Murder, Abigail Williams, and Cradle Of Filth whilst sculpting their own unique acclaimed presence, the band has earned a fine and imposing reputation on stage. That encounter has taken Morgue Orgy to a slot at Bloodstock Open Air in 2010 as well as stages appearances alongside the likes of Anaal Nathrakh, Evile, The Rotted and many more. Debut EP, The River & I only enhanced their emergence as did its successor the Murders Most Foul EP which featured guest vocals from Dave Hunt of Anaal Nathrakh. A release just as ripe with riveting and grand neoclassical keyboard seduction and crippling technically sculpted grinds as it is with blackened venom and melodic death corrosion, The Last Man On Earth is the declaration of a band at its imaginative height and fullest merciless malevolence, and you still feel that there is so much more to come from the band ahead.

     Across the album not a moment is wasted, ideas and twists spearing every minute if not second of every song with an adventure TheLastManOnEarthCoveryou can suggest is barely alive in melodic death metal elsewhere. As soon as the opener They Came From Outer Space hits the ear senses and imagination are swiped into action by band and sound. Lively classically bred keys embrace the ears at first whilst a warning buzzer makes a call of impending menace. It is an instant coaxing which suggests numerous possible paths ahead which the album may take without revealing which initially. The gothic breath of the entrance is the predominate lure but one which offers an Adams Family meets Cradle Of Filth like tease before the track  reveals itself fully. That is does with thunder rich rhythms and rampaging riffs stalked by a female spoken narrative. Again it is mere hinting until the song settles into a delicious stomp of tantalising sonic revelry and urgent intensity which in turn soon evolves into a melodramatic gothic waltz. Barely two minutes in and a canvas of multiple textures and hues have been laid to intrigue and disorientate. This is the way of the song, and album from start to finish, and one reason why both are thoroughly riveting. Halfway in and the vocals of Gray, backed by those of keyboardist Carter, savage air and emotions with an expected but again varied and eventful poisonous attack. It is a mighty introduction to the album soon backed up and at times surpassed ahead.

     Both 4 Days and Phantasms of March rampage vehemently across the sense’s landscape, the first a fury of guitar enterprise from Prok and Pence which sears and soars with artistic rabidity and primal savagery whilst the keys pulsate and swoop around the aggressive tempest with melodic rapture and temptation. Like the first and album as a whole, the track is a voracious flow of imagination and hostility which you cannot take all in on one or two listens but rewards intensively for all the extensive time spent in its caustic wrap. The second of the two is a slower bestial incitement at first but cannot not hold back the rapacious energy boiling up within and soon unleashes a rabid assault with guitars creating grooves which finger the passions and a rhythmic barracking from the lethally crisp beats of drummer Tom and the predatory throaty tones of Uncle Holloway’s bass which is instinctively addictive.

     The Last of the Summer’s Wine steps forward next soon diminishing thoughts of old men in childlike escapades with a horde of ferocious riffs and rhythmic bitch slaps which are subsequently aligned with melodic suggestiveness from the keys alongside crazed grooves and a guitar solo which only ignites greater submission for the impressive storm. To be honest it is impossible to describe every dramatic turn and rich bait provided by each song as with this one such the constant imagination and ingenuity of the release but we can reassure that it is something at times bewildering and always scintillating.

     The likes of Barnum & 399 and Castle Freak continue the strong encounter with the same flocking of ideas and intensive rhythmic barbarism, if without quite matching those early pinnacles, whilst splitting their storms is the excellent ruinous swagger of the pestilential 70 Dead pt 2: The Scarecrow of Medan. The track caustically engages and impresses whilst the piano and keys designed instrumental Waiting for the End is a glorious grandiose neoclassical aural painting to take a breath over and allow imagination and thoughts to reflect before the album’s finest moment viciously thrusts its jaws around the jugular.

    The Last Man On Earth (Diary of George) simultaneously is cultured and barbaric, vocals and rhythms merciless predators upon the senses whilst the guitars and keys cast a mesmeric if vitriolic haze over the damage. With a brilliant discord kissed sax wailing over and taunting the carcass of your sanity, the song is a blackened fury with a melodic harpy on its shoulder but one constantly twisting and evolving as it moves towards an expulsion of a riled almost hardcore brawl of vocal scowls and shouts over a punk spurred ferociousness. It is a stunning track and almost leaves the remaining songs an impossible task to follow but IT LURKS BENEATH!!! and Paradise irrepressibly and cantankerously in the case of the first make light work of the challenge.

   Closing on the enjoyable and impressively presented but less commanding In the Smoke of the Green Ghost, though that is again down to the quality elsewhere, The Last Man On Earth is an exceptional album.  There is little to raise up against it, though you suspect some will find it just too intensive and unrelenting in its inventive maelstrom. Released as a free digital free on Christmas Day and getting its official retail release on 13th January, Morgue Orgy may just have delivered the best melodic death metal release of the coming year. It is a tall order to follow for sure for them and the genre.

http://www.morgueorgy.co.uk/

10/10

RingMaster 13/01/2014

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