Scourge – Hate Metal

Scourge 2

Driving imagination and emotions into the darkest pestilential depths of hell and extreme metal, Brazilian death metallers Scourge unleash their new merciless and ravenous incitement in the venomous shape of Hate Metal. Eight tracks of unbridled filth clad hostility and invention, the release is an invigorating savaging seeded in the first insidious breath of the Brazilian death metal scene. It is vicious and sadistic, an antidote to the “False Metal that still abounds in extreme music worldwide”, and rigorously compelling. Band and album has no interest in creeping into an adventure outside of straight-up death metal but at the same time still creates an imaginative skilled exploit within its ‘confines’ which is venomously varied and uncontrollably captivating, and making a new statement for a well-trodden but always magnetic scene.

Formed in 2007 and hailing from Uberlandia, in the state of Minas Gerais, itself a breeding place of great extreme metal and bands, Scourge made their first strong declaration with debut album …On the Sin, Death, Lust, and Hate… in 2010, a release produced by Gerald Incubus of Sarcofago. The band now uncages its second assault on the senses and modern metal with Hate Metal, an onslaught of spiteful sound and ideation again attacking humankind’s deepest perversions and more.

Produced by the band and Rodrigo Nepomuceno, Hate Metal opens up with a storm fuelled intro, howling winds and funereal breath a Scourge Hate Metal Coverclimatic and messy portentous death knell of the strains of metal they loathe and our souls. It is an intriguing maelstrom of sound and drama which passes by for the instantly carnivorous presence and voice of Sentenced to Die to consume ears and emotions. Within seconds the guitars of Pretho Souto and Mauricio Conçalves have captured the imagination either with predatory riffing or sonic malevolence whilst the rhythmic antagonism of drummer William Santos and bassist Juarez Távora assault and stalk the senses respectively. Driven intensely by the raw guttural growls of Távora, the track permeates and envelops with unbridled malice and invention. It twists in gait and energy throughout its enthralling body, predictability as scarce as mercy in the riveting premise.

It is an impressive start swiftly matched by The Bread that God Crushed, its opening caress of acidic guitar amidst a reserved yet concussive scatter of percussion the perfect coaxing as thoughts and appetite increase their willingness to immerse in the dark encounter. Featuring guest vocals from Wagner Antichrist (ex-Sarcofago and Sepultura), the song from a tenderly start erupts in a torrential malevolence of sadistic beats and scarring riffs. It is a hellacious tempest racked with magnetic sparks and short grooves of melodic causticity which entwine tightly around the ears. It is a bewitching proposition even though its fury is held in rein for the main for a more toxic seduction than found on tracks like the following Angels of Wrath. The third incitement is glorious, from its first breath a mouthwatering provocation of iron tempered rhythms and skin scorching sonics. The richest ferocity is unleashed on the track; its destructive guitar sculpted flumes a treacherous ride for psyche and emotions which the threatening gut bred scowls of Távora openly revel in. The track proceeds to expel grooves and hooks which are as contagious as they are inhospitable whilst both Santos and the strings of the vocalist obliterate air and resistance with their unchecked rancor. It is a mouthwatering triumph, every twist and new detour within its ruinous presence surprising and thrilling whilst the individual craft of each band member adds additional flaming flourishes to the success.

Both Orgy in Paradise and Sacrifice of the Dead keep the new plateau for the album at its lofty height, though neither can quite equal the brilliance of their predecessor. The first of the two is an invidious prowl of oppressive riffs and demanding intensity speared by again inescapable swipes from Santos whilst both Souto and Conçalves vein the tempestuous aural malignancy with infection drenched evocative designs. It is another major highlight of the release, admittedly one amongst many, which is straight away outshone by its successor. As soon as niggling waspish grooves worry the senses within a titan like parade of rhythms, there is a flush of excitement firing up an already healthy hunger for the album. That irresistible temptation never releases its hold as the track builds and hits the senses like a grudge bred avalanche, the vocals a demonic instigator from the heart of the cruelty led predation. It is a beast of a track which finds time to add a web of melodic toxins which only accentuate its vicious beauty and raging disgust.

The Ancient Ritual of Death, with a heavily textured throaty bassline which is just delicious to the ear, steals attention next; it’s opening another which simply absorbs and enslaves body and mind from the first second. Into its full vat of aural vindictiveness, the track slips slightly in its attempt to match previous tracks but with floods of riling riffs and bone splintering rhythms charging persistently across the senses and bass and vocals combined opening up the cavernous depths of vitriol and animosity, the song is never less than gripping and impressively rewarding.

My Hate, My Dreams, My Revenge brings a new side to album and band, its melodic beauty and atmospheric elegance aligned to demon spawned vocal enmity bewitching. The song as the others never settles in one overriding scenery, its peaceful grandeur becoming an exhausting fire of uncompromising tension and smouldering grace before a finale which spews musical and lyrical hate.

Closing with the devastating title track, an anthemic call to brutal arms, Hate Metal is a commanding and thrilling antagonist. Certainly a must for all with a taste for the likes of Sarcofago, Bathory, and Blasphemy, the release declares Scourge as a new important protagonist of undiluted death metal.

Hate Metal is released in conjunction with USA’s Greyhaze Records and Brazil’s Cogumelo Records and available via http://greyhazerecords.bandcamp.com/album/hate-metal

https://www.facebook.com/scourgehate

8.5/10

RingMaster 28/05/2014

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Nervochaos: To the Death

Nervochaos Photo 2

    Raw, ravenous, and potently aggressive with a maelstrom of insidious grooves which just tease and coax the passions into their version of an erection, To the Death is an album you just cannot avoid finding strong affection for. The new release from Brazilian metallers Nervochaos is not without flaws or maybe a sense of a lost opportunity but it also leaves one more than satisfied and willing to share precious time with the release on a regular basis.

Formed in 1996, Nervochaos has unleashed their underground acclaimed blend of death and thrash metal consistently through the years and over a series of well received releases. They do not offer the most angry or violent sound around and you will find other more intense and destructive encounters elsewhere for sure but as with this their fifth album, the band has a compelling presence and creativity which ticks enough of the right boxes to be a welcome and pleasing companion. The grooves unleashed within the death metal breath and thrash powered bruises posing as songs are of a devil spawn irresistibility and make the band one you cannot ignore. Released via Cogumelo Records, the new album follows their live album of 2011 and the previous full length release Battalions of Hate of the year before, both Tumba Records released. Gaining a cult status in the underground extreme metal scene the quartet of vocalist /guitarist Guiller, guitarist Quinho, bassist Felipe Freitas, and drummer Eduardo Lane, has equally impressed alongside the likes of Venom, Cannibal Corpse, Agnostic Front, Mayhem, The Exploited, Carcass, Divine Heresy, Ragnarok, and many more, the quartet continually adding to their strong reputation.

The album opens with the high energy Mark of the Beast, a fury of unforgiving rhythms and gnawing riffs shaped around a hungryNervochaos To The Death Cover persistent groove. It does not offer anything new or inventively breath-taking but like a sonic magnet has ears and attention locked into its unfettered energy. Ok it is relatively undemanding but still opens up the album with an accomplished and riveting presence which sets up the rest of the release perfectly.

Sheep Amongst Wolves with its gnarly bass and serpentine sonic flames stands tall next to continue the emerging compelling persuasion of the release. Again there is irresistibility to the flowing craft and intent of the song with another defined groove at mischievous play alongside further inviting melodic fire from the guitars. It does not quite live up to the opener but makes a more than decent bridge to the first of the highlights of the album in Your World’s Trend. This track opens almost identically to how its predecessor ended but soon opens up a variation to the sonic beckoning and pummelling rhythms it unleashes. It is the group vocal shouts alongside the persistently scarring scowls of Guiller which help raise the game further and lies impressively against the excellent erosive grind of the track.

Whilst the following likes of Gospel of Judas, The Exile, and Smoking Mortal Remains ensure one is gripped by a strong need to delve deeper into the album, the release saves its finest moments for a couple of tracks nestled within the trio. The title track opens with the snarling bass opening its deep cavernous throat with tight mesmeric grooves of the guitars soon joining the confrontation. Unrelenting rhythms soon entrap the senses within their merciless tempest whilst now into its stride, the track sets frees a deluge of eager synapse chewing riffs and a sonic whipping which leaves only bliss in its glorious wake. It is two and a half minutes of delicious enterprise and greedy contagion impossible to deny and heartily welcomed. To match the impressive attack of the first the following Hate piles on more infectious riffing and primal chuggery around instinctive rapture sparking twisting grooves.

Arguably the album never reaches the heights of this excellent pair elsewhere but still offers plenty to grab the imagination. To the Death does have a familiar uniformity across a lot of its creativity and sound which holds the release back reaching the depth of acclaim maybe it could have found but is still impressive and enjoyable enough to make the album one easy to recommend. As songs like Mind Under Siege, Destroyer of Worlds, and Warlords Unbound continue to make the encounter a pleasing one this is an album that is easy to continually return to and Nervochaos a band with some of the most agreeable grooves and riffing ability around.

www.facebook.com/NervoChaos.

RingMaster 29/01/2013

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