Raw blood and ceremonies: talking Antropomorphia with Ferry Damen.

antropomorphia_photo03

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thank you for the time! Check out the album.

‘Behold the Sway ov Death’

F

 

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

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

http://antropomorphia-official.com/

Pete Ringmaster

The Ringmaster Review 10/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Antropomorphia – Rites ov Perversion

AntropomorphiA - 2014PR#2

The return in 2009 of Dutch death metallers Antropomorphia brought with it a potent impact on the extreme metal scene especially through the band’s acclaimed 2012 second album Evangelivm Nekromantia. Now the Tilburg quartet unleash its successor Rites ov Perversion, another accomplished and compelling savaging to put a spark into the heart of death metal. It is not an encounter to reshape or offer new realms for the genre but over time certainly one to thrill and add another tasty flavour to its impressive year.

Formed in 1990, Antropomorphia embraced inspirations from the likes of Celtic Frost, Possessed, Death, Autopsy, and Venom as they honed their own uncompromising and honest sound. The demo Bowel Mutilation in 1992 gripped attention, subsequently becoming a long sought after encounter among underground metal fans. Its release led to the band signing with Swiss label Blackened Recordings and the unleashing of Necromantic Love Songs a year later. Its well-received release was followed by band member’s time being taken up by their other projects and Antropomorphia being put on indefinite hiatus from 1999. They did not restrain from writing songs though and in 2009 the band sprung back to life, going on to sign with Metal Blade Records and unleashing Evangelivm Nekromantia. Reawakening interest and drawing new attention to the band, as well as almost getting banned by German authorities because of its violent and occult themed topics, the album led to festival appearances for the band at Neurotic Deathfest and Extremefest. Now Rites ov Perversion is poised to stir things up with its vicious and raw intent, as well as easy to suspect a greater hunger for the band’s imposing presence.

There is no escaping the force and ferocity of the album as opener Temphioth Workings draws up to ears on a crest of rampage riffs and thumping rhythms, all orchestrated by the vocal roar and vehemence of Ferry Damen. Expelling Antropomorphia - Rites ov Perversioneven greater malevolence through the dark tones of Marc van Stiphout’s bass and the increasingly vindictive swipes of Marco Stubbe, the track proceeds to ravish and seduce the senses and imagination respectively. Grooves nag and thrill throughout as the sonic invention of Jos van den Brand and Damen persistently entangle thoughts and song. It is a great start with nastiness to its breath which is just as rich in the following Carved to Pieces, an openly contagious and irritable proposition. Grooves again steal attention and passions, veining the inhospitable climate and intensity of the thrilling offering for an irresistible persuasion.

The pestilential predation of Inanimatus Absqui Anima comes next; its body a crawling ruinous enticement which stalks ears and emotions yet expels a swing to its beats and grooves which belies the toxic animosity drenching its appealing heart. Its success is matched by Crowned in Smoldering Ash, another rapacious proposal from the band taking its time to size up its victim before spilling demonic and sonic toxicity through its hostile design. Neither track matches the heights of the first pair of songs yet bind ears and thoughts in a healthy dose of creative malevolence to keep appetite for the album greedy.

     Nekrovaginal Secretions is a romantic little number if being smothered in venomous riffs and salacious sonic causticity lights your fire. Grooves twist emotions around their acidic flame with ease, again seducing without reserve as a punishing and creative tsunami of rhythms from Stubbe shows little restraint to their precisely skilled animosity. It is a glorious violation of the senses swiftly matched by the ravenous presence of Gospel ov Perversion. The track is a maelstrom of enterprise and raw hostility, merging a twisted melodic radiance with blistering sonic endeavour and rancor.

Through the hellacious and addictive bad blood of Morbid Rites and the intriguing and riveting Tevfelskvnst, band and album reinforce their already virulent animus with compelling force and charm. One thing about the album is the familiarity between groove structures and at times sound, yet they are woven into the individual characters of songs with an imaginative touch which defuses any over familiarity as strongly shown by the second of the two. The track rumbles and snarls from start to finish, the bass of van Stiphout especially inescapable bait within a torrential and impressively evolving landscape.

Completed by a powerfully enticing cover of the Death track Open Casket, the album is a formidable and thoroughly exciting proposition. Certainly it is not venturing into realms unknown but for primal yet organically inventive death metal there have been few releases better this year.

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

http://antropomorphia-official.com/

Ringmaster 17/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Strength through adversity: Interview with Zach Simmons of Goatwhore

   Goatwhore 06

Goatwhore is one of those propositions which triggers extra sparks of enthusiasm and anticipation when you hear of a new unleashing from the New Orleans based band, and their new album Constricting Rage of the Merciless was certainly no different. Following the gripping and exhilarating Blood For The Master, it had much to live up to but rose to the task with ease to provide another brutal and uncompromising, as well as rigorously thrilling provocation. Not needing to be asked twice, we grabbed the chance to find out more about band and album through drummer Zack Simmons, proceeding to discuss the origins of and challenges before the band over the years as well as looking at the recording of and inspiration for their latest triumph…

Hi Zack and thank you for taking time to talk with us.

Before launching ourselves at new album Constricting Rage of the Merciless, can you give newcomers to Goatwhore some history to the band and its birth?

The band started around 1996 after Sammy’s other band, Acid Bath dissolved. It was out of a necessity to keep playing music for him and to take a darker direction than his previous band. I joined about ten years ago and our current bassist has been with us for five years, so this has been the most consistent line-up for the band.

Was there a specific intent behind the band and its sound at the start and has that continued today or evolved into something different?

The band started out with a heavily Celtic Frost, Bathory influenced sound and has sort of evolved to become its own animal. Those influences are definitely still intact but we’ve grown over time to allow some of our other influences to shine through as well. A lot of the stuff we grew up on, like Motorhead and Judas Priest has definitely made its way into our sound.

It is fair to say that the years have brought plenty of obstacles from the maybe accepted like line-up changes to the unexpected such as paranormal activity and natural disasters to bear on members and the band as a whole. Without this kind of trauma to incite the band’s emotions do you think Goatwhore and its sound would have been a different kind of beast?

I think all of those things have a big part in making the band what it is. We are sort of a product of our environment and experiences and even though we’ve had our fair share of negative occurrences, we’ve always seemed to come out the other end stronger.

All bands need perseverance and commitment to the cause but Goatwhore has needed more than most over the years would you say?

I would say so. We’ve been through a lot, man. Ben was involved in a van accident on tour which left him with two broken legs and not knowing if he’d be able to walk again. Also, hurricane Katrina was a major setback for the band. The Goatwhore coveralbum title kind of says it all. All these things that happen just make us want to push harder and keep going instead of being defeated. It makes for some very aggressive music.

As we mentioned you have just unleashed new album Constricting Rage of the Merciless, what was the feeling over it compared to previous albums for you as it was unveiled to the world?

Every album is very special to me because it is kind of a snapshot in time and holds a lot of memories and emotions. I think this is a very special album for the band and it’s just the next step in the evolution of Goatwhore. With every record you try to step things up a notch on every level. I definitely think we achieved that with this one.

How do you see the difference in sound and presence between Constricting Rage of the Merciless and previous albums Blood For The Master and Carving Out The Eyes Of God?

The main difference in the sound of this record and our past records stems from the fact that we tracked to two inch tape instead of digitally. It was a more time consuming process but the end result was well worth it. I think you can hear more of a vibe in this album and a punchier, warmer sound overall. Erik Rutan really outdid himself on this one.

You just mentioned that the new album was tracked to two-inch tape, what was the inspiration and idea behind this and how did this impact on your approach and style?

We thought it’d be a great way to try and capture our live sound on a record. Some bands want the really modern digital sound but that approach doesn’t really work for us. We want that classic, thick, heavy sound and recording to tape really brought that out. Recording to tape really requires you to be on top of your game and very prepared since there is much less opportunity for studio trickery. It’s a much more honest approach to recording and it worked very well for this band.

Where do you see the album pushes the Goatwhore sound and invention most potently?

I’d say there is a bit more anger and venom on this album than some of the more recent ones. It’s got a bit more variation as well. A song like Cold Earth… is an example of something we’ve never really done before. Little variations like that allow the album to breathe a little more and offer more of a ride for the listener.

Did you bring anything else majorly different way in songwriting and recording to the album this time around?

It was pretty much business as usual. I’d say we were more into the idea of trying new things and a little less apprehensive of changing things up a bit. Sometimes it’s good to get out of your comfort zone and see what happens. It’s a good way to stretch your boundaries as a musician.

Goatwhore photo01How does the songwriting process work within the band more often than not?

It all starts with getting into the practice room and firing up the amps. We’ll sift through the riff library and throw ideas around until something clicks. We also do a lot of work on our own since we live in different places. We’ll email ideas and song structures back and forth to get a head start on things for the next time we get together.

Other than being bred from the writers and band’s hearts how personal are your songs at their core?

I’m sure every song means something to different to each of us but each song is very personal to me. It’s an outlet of creativity and aggression that we all put a lot of heart into.

As you said earlier gain you linked up with Erik Rutan in the studio; was that always going to be the only choice of who to helm the recording or did you ever contemplate a new direction at any point here or on previous releases?

We never really thought of working with anyone else. We have very much the same vision in how this band needs to sound and how to make that happen. We work very well together and improve upon things with each record.

Eric is in many ways like an unofficial member of Goatwhore?

Totally! He really is the fifth member of the band.

We felt whereas Blood For The Master exploded like a beast in season that Constricting Rage Of The Merciless is more of a predatory proposition, one which prowls and sizes up the listener before going for their throats. Is that something you can see between the two?

I totally agree with that. This album has more of a bloodthirsty, murderous vibe to it. It’s a bit more chaotic and violent.

Every release to some degree opens a doorway to a new train of thought for bands about their sound and ideation ahead. Has there been anything about Constricting Rage Of The Merciless which has sparked certain ideas or intent for the next engagement?

It’s never something we plan or think about ahead of time. We’ll cross that bridge when we get there but I’m sure it’ll happen very organically and naturally like it always has. We are focused on touring now and spreading these new songs to any and every place with a stage and a power outlet.

Is there a particular aspect or moment within the album which gives you the biggest personal tingle of satisfaction? Goatwhore 03

To me, every song on the record gives a lot of gratification but one that really sticks out is Cold Earth…. After being bludgeoned with the first five songs, I think it’s the perfect song to set the tone for the second half of the album. It’s a pretty unique song for us.

What is next in store for and from Goatwhore?

We’ve got another two weeks on the Summer Slaughter tour with Morbid Angel in the US. After that we’ll be doing dates with Samhain in the US then heading to Europe with Dying Fetus in November.

Once again thanks so much for chatting with us. Any last words you have for us all?

No problem. Thank you! I hope to see you all at a show in the near future!

facebook.com/thegoat666

Read the review for Constricting Rage Of The Merciless @ https://ringmasterreviewintroduces.wordpress.com/2014/07/08/goatwhore-constricting-rage-of-the-merciless/

Pete RingMaster

The RingMaster Review 06/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Karnak – The Cult Of Death

new_signing

Uncompromising and ravenous, the new mini-album from Italian death metallers Karnak is a furious consumption of the senses but equally a deceptively rewarding one which with bravery and strong will before its ferocity provides a compelling and invigorating examination of senses and thoughts. Made up by five predatory tracks, The Cult Of Death is an annihilatory turbulence through the ear which consists of four new songs linked to a concept inspired by Aleister Crowley, as well as a cover of a Celtic Frost track.  With savage essences which put you in mind of the likes of Incantation, Pestilence, Nile, Morbid Angel, and Suffocation, the release is a potent and dramatic gnawing of the synapses marking the Monfalcone hailing quartet as a persistently formidable proposition.

Formed in 1993 by drummer Stefano Rumich, the band released numerous demos before making a strong impression away from their local area with debut album Perverted, the first release under the name Karnak. This was successfully followed by Melodies Of Sperm Composed, an album which saw the band evolve from their initial pure grind/death metal stance exploring elements of jazz, samples and more to add flavour and colour to the still destructive tempest of sound. Third album Tutti I Colori Del Buio was released in 2002 before the band went on a break provoked by line-up changes. 2009 saw their return and the signing with Casket Records with the release of fourth album Dismemberment coming the following year. A tour supporting Krisiun and Kataklysm pushed the band out further in 2011, though by now having supported the likes of Impaled Nazarene, Suffocation, Nile, Decapitated, Avulsed, Necrodeath, Pyogenesis, Destruction, Fleshgod Apocalypse and more over the years, Karnak was no longer a hidden secret. Last year the band supported Malevolent Creation, Krisiun, and Vital Remains on another European tour followed by another with Deicide. Currently working on their next album, the line-up of vocalist/guitarist Francesco Ponga, bassist/vocalist Lorenzo Orsini, guitarist/vocalist Marco Polo, and Stefano Rumich raise real anticipation and hunger for said release with The Cult Of Death, its bestial creative assault wholly persuasive.

The opening Intro just lays out a simple rhythmic beckoning but its temptation is irresistible and almost tribal as it evolves into The cover_karnak_thecultofdeathConstruction Of The Pyramid (The Demon’s Breath) who replays its offering before opening the gate to an intensive exhausting technically honed riff driven blaze which scorches the senses with the brewing animosity of the song and its breath is not far behind in carnivorous intent. With vocals roaring like the oldest colossal predator imaginable, the track lurches at the senses with insatiable energy aligned to a more restrained but unreserved sonic and rhythmic stalking. Furies of technical and acidically melodic guitar do initially wrong foot emotions after their submission to the easy to devour onslaught, but soon persuade craft and evocative hues.

It is an impressive start repeated and then surpassed by The Construction Of The Pyramid Beta (Invocation), the Meshuggah like web laid down around the passions at the start over run by the torrential thick sonic mass of intensity and suffocating ambience. Doom oppressive and sludge lumbering, the shift bleeds the air of light and oxygen but equally ignites thoughts with shards of melodic light and colour before the nightmarish soundscape with its heaviness and rabid vocals seems to claw like a swarm of patient demons at the psyche. As with the release it is not at times the easiest or most comfortable listen on first impressions but beneath the barbarous surface and many deeper levels there is a magnetic and superbly crafted well of invention and skilled temptation.

The nagging chugging which leads the song to a dissipating climax is immediately thrown aside by the sadistic entrance of The Construction Of The Pyramid Gamma, a start which is only built upon and intensified the further the track chews at the ear with the drum attack of Rumich unrelentingly and impossibly thrilling. Also unafraid to bring a potent melodic and sonic adventure to the striking narrative of the release, the track is a frequently changing and provoking treat concluding and summing up the new songs and strength of the album perfectly.

Completed by the cover of Celtic Frost song Jewel Throne, the release is an enthralling malevolent engagement. The final track is more than decent but as accomplished as it is it is not a match for the previous trio of songs. Quite simply The Cult Of Death really gets the appetite aflame for Karnak’s forthcoming album whilst making a thoroughly satisfying meal right now.

http://www.karnakdeath.com/

9/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

0 X í S T : Nil

0 X í S T

Standing alone within an oppressive intensity soaked with a sonic provocation to threaten and rip open thoughts and emotions the intimidation of the ravenous beast loomed over its willing victim.

This is not the opening line to a new suspense novel or the first scene in a horror movie but the scenic description to the effect and power Nil, the debut album from Finnish metallers  0 X í S T, wields with its startling and impressive inventive sounds. Combining the atmospheres and deep breaths of gothic, death, and doom metal into something quite unique and over powering announced as dark metal, the Riihimäki band is a formidable and striking encounter which leaves a lingering mark on the senses with their imaginative and intrusive sound. The new album from start to finish erodes away layers of safety to expose the raw nerves and unwanted shadows of the senses and emotions to equally invigorate and threaten.

Formed in 2008, 0 X í S T (represented for and spoken as zero exist) made their first notable corrosive presence known with their first EP Unveiling the Shadow World which was released in April 2010 by Ostra Records. The four track release woke up many ears to an awareness of the band which built further with their first live shows soon after the release of the CD in southern Finland and Estonia. In August and September of the same year the band recorded a two track demo with songs which would appear on the new album. It came out in 2011 as an extremely limited edition CDr demo in preparation for the full-length album release. The seven track album was recorded in 2011 with its arrival through again Ostra Records in union with Cold Void Emmanations in December of last year.

The album is as dramatic and it is darkly stunning but not in a rising epic sense but in a cavernous and mentally carnivorous stature 2994311728-1which unleashes much deeper and further reaching encounters upon the listener and their psyche. The release opens with Old World Vanished and immediately stands against the ear with a weighty and intense breath. The slowly prowling gait of the track lumbers across the senses leaving residues of emotive heft with every black note from guitarist Jani Koskela and challenging rhythms from drummer Mikael Ahlstén. The bass of Ossi Leino, who has since left the band to be replaced by Sameli Köykkä, adds its own predatory and sinister grip fuelling further malevolence to the already overwhelming power of the track. The scarred growls of Koskela are as venomous and intensive as the sounds soaking the air and heart, and combined makes the song an unforgiving yet rewarding confrontation with its acidic melodic prowess and flare.

The title track takes over next with a more energetic hunger yet still unloading a rich but destructive mass upon the emotions to trigger new depths of despair, reflection, and exhaustion. It is a teasing piece of music at times with spoken vocals ringing within the ear in its ‘quieter’ moments of energy before the squalls of malicious enterprise and power assume control of the passions. The track moves into a slow and heavy stalking as in the first but entwines it with a feisty beacon of sonic flames throughout wonderfully.

The likes of the chilling and disturbing Cold Dark Matter and the outstanding Anemone Patens MCCXLIX ignite the passions as mightily as they do the thick emotive cloud which consumes the mind and senses. The second of the two is a sensational piece of invention with little sonic sparks which rub deliciously on the ear as the insistent mass of the track explores every other part of the body. It is a flowing wash of inventive and shifting sonic structures all firing up a dark rapture amongst a wave of different and often opposing feelings. Throughout the album essences of bands like Triptykon/Celtic Frost, and Bethlehem, whisper but in this song for some reason early Killing Joke spoke out though it is not clear as to why exactly.

Closing with the mercilessly crushing Of Wood, Stone And Bone and the melodically persuasive yet annihilatory Shrivel, the album is superb. Everything about it from the impressive sleeve art of French artist YhN, the impeccable production, to the musicianship and sound of the release itself is of the highest accomplishment. Nil is a testing and provocative treat which is as damaging as it is deeply stimulating and 0 X í S T a band taking extreme metal into fresh imposing places.

http://www.zeroexist.net

8/10

RingMaster 02/02/2013

Copyright RingMaster: MyFreeCopyright

AntropomorphiA: Evangelivm Nekromantia

Evangelivm Nekromantia, the new album from Dutch death/occult metallers AntropomorphiA, is a release which does everything right and you can easily admire for its craft and imagination. It is an album which leaves one satisfied in its company but ultimately just does not inspire any lingering passion or captivation for its accomplished and inventive sounds. Despite that it is still a release one can return to time and time again with a willing and keen enthusiasm.

Formed in 1989 (originally formed under the name Dethroned Empire) with the likes of Hellhammer, Celtic Frost, Infernäl Mäjesty and Bathory heavily influencing their musical aims, AntropomorphiA spent their first years building up a strong fan base and respect through their live shows and the cult classic Necromantic Love Songs which appeared via  Swiss label Blackened Recordings. Through member departures the band was put on hold around the turn of the century, with original members vocalist/guitarist Ferry Damen, bassist  Marc van Stiphout, and drummer  Marco Stubbe getting back together from their individual projects in 2009. Last year saw the band recording Evangelivm Nekromantia as well as re-releasing Necromantic Love Songs through underground label The Crypt in a vinyl package which also combined their first demo Bowel Mutilation into its body.

The new album consists of nine tracks, divided into three chapters of each three songs, which are lyrically driven by ‘nekrophilae, murder, necromancy, and necrolesbian lust’. The band itself said about the release, “We’ve been working on this conception for almost a year. Dedicated to composing a new sort of disturbing death metal darkness which exceeds most of the one-dimensional releases that you hear most of these days!” A bold declaration which the album does not back up in originality or uniqueness and up against some of the impressive and inventive genre releases to be let loose the past year, their statement does flounder. All the same the Metal Blade Records released Evangelivm Nekromantia makes for an easily satisfying and robust slab of death and decay, with venom and malevolence certainly not short in supply.

After a lacklustre intro piece the first full track Nekrophilian Mass agitates and caresses the senses with a caustic breath and energy. It is a slowly consuming piece of malice complete with a precise infectious groove and a toxic sonic grazing upon the ear. The persistence caustic presence brings magnetism to the track though again it does not burst with startlingly compulsive life. That is soon amended with The Mourned and the Macabre, and it has to be said the further into the album one goes the stronger it becomes. This bestial onslaught twists and turns with enterprise and impressive skill, its ravenous intent to stir up synapses and festering shadows an easy consumption to engage with. From the intimidating drums and predatory snarling bass lines to the air splicing sonics and guitar malice the track is a formidable adversary. The vocals of Damen are as malevolent as the sounds but are at times as throughout the album, submerged within the oppressive weight of the intensity too fully leaving lyrical clarity a wish rather than a given.

Into its stride the album shows its strengths through songs like Debauchery in Putrefaction, Fleisch, and Impure Desecration to just pick three of what are all pleasing corruptions upon the ear. Though none manage to spark any blazing fires within neither do they leave without ensuring some degree of admiration and pleasure from their parasitic senses erosive qualities.

Evangelivm Nekromantia is a more than decent album which occasionally leaves one breathless as with the excellent Psuchagogia, a track which just chews up imagination and thought, sending them spiralling through a maelstrom of mordant and dehabilitating erosions. There are few flaws with the release and plenty to praise and be pleased by, sadly though it just does not hold or trigger any real sparks to make it something more impressive.

http://AntropomorphiA-official.com/

RingMaster 22/10/2012

Copyright RingMaster: MyFreeCopyright

Nuclear Death Terror: Chaos Reigns

The collecting together of previously only vinyl available releases from death/crust metal band Nuclear Death Terror in the shape of Chaos Reigns is a mighty and enjoyable album all fans of the genre should investigate. Without igniting new areas and avenues, the album is the history to date of a band which has its own little distinct corner away from most. Powerful and inventive the tracks within the album leave nothing but satisfaction in their heavily churned up dust and thanks to Southern Lord get a deserved wider viewing.

Originally from Copenhagen, the Danish metalers first drew attention with their 2005 demo and following self titled album a year later. A line-up change ensued at this point to be followed by the well received releases of the Ceaseless Desolation and Total Annihilation 7” EPs of 2007 and 2009 respectively, both making up two thirds of the tracks on Chaos Reigns. 2010 saw a relocation to Melbourne with strong touring around the country as well as in Japan and SE Asia the year after. 2012 has already seen the release of the Blood Fire Chaos Death EP, its five new songs now completing the track list upon Chaos Reigns.

The album sets its listing out in reverse order with the songs from Blood Fire Chaos Death opening the release. This has a dual effect in that it makes the quality of the album diminish slightly as it goes but conversely highlights the quality of the music across the years as that fall is quite minimal considering the years and production levels the releases come from. The quartet of songs from their last EP steal the show to be fair, their presence a hardcore punk energy brought with a heavy intense death/crust breath. The opening Crisis immediately brings the senses into a riotous and sprawling soundscape of crippling rhythms and abrasive riffs. It is a contagious assault which ignites the senses with its latter enterprise and manipulative sonic fingerings, arguably the most appealing thing across all the songs and what sets the band apart from others. At times it can be quite subtle, maybe not a word expected to be used with an intensity like Nuclear Death Terror offer, as on the destructive Collapse and the fiery sonic Descent.  It certainly adds something extra though to spark the imagination within what can be without care a too similar consumption.

Along with the opener the biggest highlights come in Abyss again from the recent EP and the track Total Annihilation from the EP of the same name. The first is an infectious stomp through the ear, the growling bile spewing vocals riding an infectious and persistent grinding groove within the towering fury of energy and riffs. It has vehemence to its heart though which envelopes the ear with the slower twists and doomy heavy caresses. The second of the pair is a storming break neck thrash speared onslaught, unrelenting and hungry the track is a rabid corruptive brute which again twists its pace and intensity skilfully.

The likes of Devolve To Submission and World Enslaved hit the spot perfectly though all tracks leave nothing but good reactions and thoughts in their wake, even the more than decent if unadventurous cover of the Celtic Frost song Morbid Tales which closes the album. To be honest it is the latest four songs which steal top honours but in many ways that is how it should be, a band evolving and improving.

Will Chaos Reigns be in your best of year choices, most likely not but as a record of a great band to date, it and Nuclear Death Terror are a more than pleasing half hour spent, and often.

http://www.nuclear-death-terror.com/

Ringmaster 03/09/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.