Mass Infection – For I Am Genocide

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

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

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

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

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

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

http://www.facebook.com/pages/Mass-Infection/129646357120635

8.5/10

RingMaster 02/04/2014

Copyright RingMaster: MyFreeCopyright

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Aborted Fetus – Private Judgement Day

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

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

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

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

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

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

http://www.abortedfetus.ru

7.5/10

RingMaster 18/02/2014

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Exhumer – Degraded by Sepsis

Five years after the release of their acclaimed debut album Bloodcurdling Tool of Digestion, Italian metallers Exhumer unleash its eagerly anticipated successor in the grievous furious shape of Degraded by Sepsis. A torrent of voracious energy and spiteful craft, the album is a swift and thrilling pestilence of brutal death metal which chews up ears and senses whilst rewarding their blood stained carcasses with a thoroughly pleasing scourge of invention and technical violence. It is not a release without flaws or arguably has one issue certainly, but nevertheless stands as a confrontation which returns the band to the frontline of extreme metal.

Formed in 2004 by guitarist Marco “Furiogrind” Aromatario, the band made its first impression in the local underground scene with the Sick & Deviance demo of the same year. Line-up changes followed as did their continually driven attack on the live arena. The release of Bloodcurdling Tool of Digestion in 2008 brought Exhumer into a worldwide awareness, the album lodged firmly in many end of year best death metal lists whilst the band itself under took their debut European tour not long after as well as appearing at numerous festivals across the likes of Germany, Greece, Bulgaria, Romania, Hungary and Austria. With the band continuing to ignite stages since and with vocalist Diego Fanelli, bassist Alyosha Danisi, and drummer Paolo D’Amato alongside Aromatario, the band turns predator of the senses once again with the Comatose Music released Degraded by Sepsis.

Admire Your Ending graces the entrance of the album with a sinister instrumental soaked in bedlam and mental provocation, its demonic breath a hint of things to come without revealing the extent of the violation impending which soon bears its claws with Vapours of Cadaveric Mucilage. Savage and carnivorous, the track is a torrid speeding scourge of ruinous rhythmic aggression and grinding voracious riffing driven on by the excellent guttural vocals. With the rabidity which soaks every moment of the album, the song alone leaves senses and thoughts exhausted whilst the appetite for the assault comes with strong hunger.

As the following Pungent Aroma of Uterine Necrosis and Effervescence of Corroded Coarse Remains carnally expose the senses and emotions with their exhaustive sonic brutality, the previously mentioned problem with the album shows itself a nagging annoyance. It may just be down to the fact that the promo for the album was a digital one, a format that can come polluted, but the production on the release does it no justice at all, its touch shallow and smothering creating frustrating smog across the music. The fact that the tracks can still impose their explosive qualities through the stifling conditions is an indication of their strengths and potency but as said it might just be the version Degraded by Sepsis came in that is the cause and once eager hands are on the CD the full majesty of the album can be explored. Nevertheless both tracks are still epidemically contagious, grooves and hooks insatiable and irresistible within the sprawling tempests whilst riffs and vocals simply enslave as equally as the twisting invention.

The likes of the intensive Foaming Secretions, the track a slaughter of the synapses which once it has caused full devastation and lustful greed takes its unbridled attack into a crawling stalking of the ears, the maniacal Enzimas Podridas, and the deliciously cruel sonic taunting spawned by Adipocere Corporal Glue continue the impressive ravaging. They all come with the same sadistic charm and ferocious turn of invention as well as a mutual senses grinding malignancy but each holds a threatening individualism which the band furthers across Degraded by Sepsis with the two instrumentals Misery, which lies within that trio of furies and Scent of Decomposition which follows them. The two tracks provide a rich evocative respite from the sonic scarring, though the haunting intimidation of the pieces still challenges nerves as the imagination explores the corners and depths of their musical narrative before being thrust once more into the fire.

The title track and the closing Putrescine provide that final furnace of intensity and annihilating consumption bringing the excellent confrontation to a blood boiling close. The first of the pair weaves a provocative melodic web around furious sonic terrorism to exploit further the striding imagination whilst its successor is a vicious brawl leaving senses and strength labouring before its primal malevolence.

Exhumer has uncaged a beast in Degraded by Sepsis that is thoroughly enjoyable and openly impressive, but with that question mark against the production misses grabbing the fullest acclaim, though inventively and musically it is masterful. A should investigate release for those with an appetite for the likes of Suffocation, Devourment, and Cryptopsy

https://www.facebook.com/exhumer.official

8/10

RingMaster 16/10/2013

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Sexcrement: Sloppy Seconds

The groove veined slab of debauchery in the shape of Sloppy Seconds from death metal band Sexcrement has to be one of the most addictive and irresistible slabs of extreme metal this year. With lustful saliva dripping from every syllable and wanton sexual tension coating every eager riff and intimidating rhythm the album takes filth fuelled infestation to another level. Within its welcoming blackened seedy walls depravity and penetrative sexy grooves alongside commanding and thunderous rock n roll aggression make insatiable bed fellows. Their union a salacious feast for the senses and an album which leaves nothing but a drooling enthused need to be molested by it again and again.

Released via Comatose Music the album is the second from the Boston, Massachusetts band following up Genitales From The Porno Potty from 2007. Though placed as death metal the 2005 formed band offers much more, their sound brought with a sure technical essence and those delicious unforgettable grooves. With influences of the likes of Broken Hope, Gorguts, Scattered Remnants and Skinless, the band took no time in making their mark with the Whiskey Tits demo and the sharing of stages with the likes of Cryptopsy, Suffocation, Cattle Decapitation, Dehumanized, Anal Blast, Goatwhore, Mutilated, and plenty more. Their debut album saw Sexcrement as one of the leaders of offensive and raunchy metal and the recipient of unbridled acclaim. Sloppy Seconds returns with the same mindset, the same disgusting debauchery, but with even more contagious grooves and not to be denied energy.

The opening Heard It Through The Rape Vine takes a firm grip from the off with a persistently tightening destructive groove like a sonic lasso around the ear. The guitar of Evan Duplessis whether thrusting riffs with direct accuracy or twisting the senses with his precise melodic manipulations is unerring whilst bassist Blue Spinazola and drummer Devon Hunt prowl and assault respectively with bestial intensity. The spiteful wretched delivery of vocalist Adam Mason finishes off the perversity with extra brutal fingering to make a song and subsequent album which one easily opens ears, heart, and legs for.

The following Chemical Handcuffs dives deeper and even more effectively with outstanding bass work from Spinazola throbbing with vengeance throughout the deviancy accosting the senses. In some ways the band reminds of the Dead Kennedys with their riffs, and grooves, not in sound but the way once they have infiltrated they are there for life in memory and heart and applies across the whole album.

The outstanding and arguably best track Well Hungover with its insistent hornet powered groove, the equal swarming infestation Heels Up, and the irrepressible psychotic Trucker Bombed, all ignite deeper and more lustful devouring from the ear. The third of these is a barely controlled slice of mayhem bringing threatening behaviour, sounds, and excitement of the most dubious borne for the fullest pleasure. The track commands full attention throughout and with a video accompanying it starring Scream Queen Linnea Quigley (Return of the Living Dead, Silent Night Deadly Night); the song is destined for classic status.

With obvious humour powering every idea, note, and song premise the great thing about Sexcrement is they never teeter on the edge of joke or novelty band. Their tracks are excellently structured and offer music of the highest order. It is not demanding but nor is it throwaway in any degree. Sloppy Seconds is completed by further impressive tracks in Assisted Living Lapdance, Obestiality, and Ride Johnny Ride, all songs which though they do not quite live up to what came before still leave nothing but chuckling satisfaction. The album is outstanding and one to leave you crushed, shell shocked, and mischievously grinning from ear to ear.

RingMaster 03/06/2012

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Kraanium: Post Mortal Coital Fixation

Post Mortal Coital Fixation is the third album from slam death metal band Kraanium and a festering bruise of corruptive violation and brain numbing intensity. Raw, barbaric, and perpetually intrusive the album marks a return to form for the Norwegian band and a great infestation upon the world before their US tour in June with Atrocious Abnormality and Coathanger Abortion.

Post Mortal Coital Fixation released via Comatose Music follows previous albums Ten Acts of Sickening Perversity and The Art of Female Sodomy. The Oslo quintet of vocalist Martin Funderud, guitarists Vidar Ermesjø and Mats Funderud, bassist Ian Slemming, and Mitch Rider on drums, take no prisoners nor do they have any qualms about trampling upon and abusing the senses and sensibility from song titles and lyrics though to the pillaging riffs and bile soaked intense sounds. It is not an easy experience for the ear but what violent pit borne and destructive intrusion is.

Staggering in on towering riffs and ruptured rhythms the album opens up the ear with brief intro track Post Mortal Fixation before flaring up with the brutal might of Stillborn Neurotic Fuck Feast. The track paces and tests limits with its flesh stripping riffs and the porcine guttering of frontman Funderud. Heavy, stripped down, and laying waste to the senses the track shows the band back to their formidable best after for many an arguably less than satisfactory second album.

The album is not openly adventurous nor the bringer of great diversity within its muscular hide but with infectious intestines of grooves and disengaged caustic melodies the release does not fall deeply into over whelming similarity either. The likes of Bursting Rectal Sores, the consumption of light that is Crack Whore Pounding, and the hypnotic and malicious Coprophagial Asphyxiation and one of the rare times bassist Slemming is plainly heard, all seek and fill every corner of the senses and thought with vile yet mesmeric vehemence.

As further tracks like the excellent Slammed Kranial Remains and Baptized in Boiling Sewage with its acidic grooved putrescent crawl consume, the album sucks the last essences of life from the senses, leaving dried up husks of depleted feelings and emotions. Post Mortal Coital Fixation is not for the faint hearted or for those needing warmth to their music. It is a plodding inhuman aural savagery that is as primitive and cruel as the hell it is inspired by, it is also in its sadistic way quite contagious and an overall rewarding malefaction.

Also including a cover of the Abominable Putridity song Entrails Full of Vermin, the album is a release to fire up all lovers of death metal, metal core and of course slam death. It is unlikely to make the majority of lists of 2012 top albums but it more than satisfies the needs of extreme metal fans as well as declaring Kraanium back on course.

RingMaster 21/05/2012

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