Tales of the Tomb – Volume One: Morpras

TOTT-processing-plant _RingMaster Review

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

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

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

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

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

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

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

http://www.talesofthetomb.com/   https://www.facebook.com/talesofthetomb   https://twitter.com/talesofthetomb

Pete RingMaster 27/11/2015

Copyright RingMaster: MyFreeCopyright

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The Five Hundred – Winters

TFH_RingMaster Review

Every now and then, without any debate, lustful pleasure is ignited by a release; by a band exploding on the sweet spot of ears and instincts with something which just seems to know what the passions like. Such an encounter for us is Winters, the debut EP from UK metallers The Five Hundred. It is hard to say what particularly incites such enthused reactions and appetite, the release weaving its fierce tempting with a host of familiar flavours and styles, but every one of its four incendiary tracks is hellacious manna to the ear and imagination; something we suspect to not be alone in feeling.

The Five Hundred emerged in 2014, a Nottingham quintet previously known as DAOR. In no time their fusion of brutal and melodic metal was whipping up ears and thick attention, every strain of extreme metal and numerous other styles seemingly entangled into a compelling maelstrom of enterprise and confrontation which now fuels Winters and already an acclaimed live presence which has seen the band share stages with the likes of Napalm Death, Fear Factory, All Shall Perish, Architects, and TesseracT. Recorded with Justin Hill (Sikth, Heart of a Coward), Winters is the band’s first fearsome roar at national spotlights, and if our ears are anything to go by, heading to rich success in awakening that broader focus.

Winters EP Front Cover_RingMaster Review    The press release suggests that the band switching to 8 string guitars has been a new spark to their sound and invention; whether it has or not, all that matters is that Winters is a full-on tempest of persuasion from first breath to last. The EP starts with its title track and straight away is grumbling in ears through the predatory bass of Andy Crawford, it a grouchy provocateur within a surge of wiry guitar. The hefty swings of drummer Liam Perez show no light in their nature either with each beat a shuddering impact as guitarists Mark Byrne and Paul Doughty weave more compelling bait for vocalist John Eley to spring from with great diversity. Just as musically the release ticks all the boxes so does the attack of the frontman, his fluid mix of clean, punkish, and outright raw hostility equally accomplished and perfectly measured in the split of all his strains of potency.

Death and heavy metal collude with metalcore and post hardcore ferocity though that is a simplifying of the hues creating the first and each track within Winters, as Come Closer swiftly proves. The lead track with a great video in tow, it emerges from a misty sonic atmosphere with military rhythms and emotive vocals, they still more in the background until a ravenous stomp of belligerent rhythms and caustic riffs is triggered. It in turn breeds a sonic blaze which is not so much mellow as less vicious than the surrounding and perpetually prowling ferocity soaking the walls of the incitement. Again at times as punk as it is metal and a constant exploit of seriously enticing elements amidst slithers of unpredictable ingenuity, the track is a ravenous treat but outshone within seconds.

The barbarous majesty of the first two tracks carries on in the outstanding Shutter to the Light, its immediate swagger as seductive as it is venomously violent. Like an anthem for the derailment of all that is hopeful, the track bellows at and trespasses the senses and imagination with enthralling enterprise, yet within its despoiling character harmonies and melodies are unleashed to wrong-foot and seize the passions even tighter. Everything about the track whips up a greedy appetite and pleasure; from the irresistible prime hook to the increasingly formidable vocals and the raging invention culturing the creatively rabid storm.

The EP is closed by The Cannibal Hordes, it also a quite thrilling and blistering arousal of ears and satisfaction. Melodically acoustic in its first caress, defiantly cantankerous from the second onwards, the track spits hostile intent and roars melodic understanding; vocally and musically entwining both with a skilled volatility that ensures expectations never gets proven. As suggested earlier, many elements and flavours are recognisable, bands like Fear Factory, Lamb of God, In Flames, and Hatebreed coming to mind, yet no song utters anything other than something unique to The Five Hundred.

The Winters EP is a crushing and scintillating introduction to The Five Hundred, band you should expect to hear a lot more of in sound and acclaim ahead, if only from our enraptured lips.

The Winters EP is out now digitally and on CD via https://thefivehundred.bandcamp.com/releases

https://www.facebook.com/wearethefivehundred   https://twitter.com/thefivehundred

Pete RingMaster 24/11/2015

Copyright RingMaster: MyFreeCopyright

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Diatonic – Hidden Pieces

Diatonic_RingMaster Review

This month sees the CD release of Hidden Pieces, the debut album from Swedish death metal project Diatonic. With a successful digital release last year, the acclaimed album recently caught the ears and attention of Into the Night Records, a label quickly signing them up and giving a physical presence to the band’s striking first album as they work on its successor.

Diatonic is the solo project of Joakim Antman, a Swedish musician who has played in the likes of Skitarg, The Ugly, and Overtorture. Creating the project to “fulfil his creative needs” multi-instrumentalist Antman enlisted the assistance of drummer Fredrik Widigs for his first offering as Diatonic, and with craftsmanship and imagination as gripping as the songwriting within Hidden Pieces, Antman quickly whipped up acclaim and attention with his debut; a success now given a meatier opportunity to reignite again with the CD release.

Albumcover_RingMaster Review     Hidden Pieces opens up with Dimensions, the track emerging from a mesh of radio incitements with stalking rhythms and equally predatory touches of guitar, the initial slow intimidation soon picking up steam in energy and menace. The raw, throaty tones of Antman similarly prowl and intrude to great effect, his backing tones perfect echoes to the animus escaping through his throat. Grooves and tantalising spicery equally get spun by the guitars whilst rhythms badger and threaten with ferocity and prowess. The track is compelling, addictively infectious with its barbarous swing and incessant hostility but equally enthralling in its creative twists and enterprise within a death metal bred tempest.

Burning Within is a matching incitement in success and rancorous breath, and also in its creative design where every aspect, whether subtle or hellacious, is allowed room to tempt and make a potent impact on the overall persuasion of the track. It is a common quality across the album, and though a familiarity to others within the genre also finds space within Hidden Pieces, Antman weaves them that invention and skill into fresh adventures to entice ears and imagination. The atmospherically hued and invasively antagonistic Led by the Mind is perfect evidence. The song almost smothers the senses with its emotional and physical malevolence but equally it brings striking unexpected passages of dark calm and melodic elegance to accentuate and temper the volatility of its heart.

Through the hypnotic sonic lure of The Cure of Suffering and the embittered Only I, the album grips tighter an already healthy appetite for the encounter, both tracks in their individual ways, merging melodic beauty and ravenous, almost pestilential, corrosive trespasses. Each also provide a cantankerous seducing before the album’s title track crawls into view with again a mix of invitation and threat. Melodic and intrusive invention entangle until the track reaches its full height and takes both aspects under its fascinating imaginative wing. As all tracks, its surface belies the craft and imagination beneath its savage skin which only leads to each listen revealing a little something more as the album increasingly impresses.

   Fear Us is another seriously tasty gem within the throve of dark goodness that is Hidden Pieces, its web of repetitious stalking, sonic expression, and melody lined dissonance crafting an intrigue loaded captivation. Unpredictability is another potent essence to the album, as potent here as anywhere and matched in varying degrees by the closing pair of Followed and Left to Rot. The first of the two lacks the same forceful spark of invention and tenacity as in previous tracks, but still lures and chains attention with its provocative and thoughtfully spun textures amidst melodic imagination whilst its successor is a gloriously sinister drama of sound and imagination. At times it romances with keys led beauty and in other gnaws on the senses, their alternation and union seamless and increasingly bewitching. The track is glorious as it brings the album to an outstanding end; summing up all the qualities and success of the release in one masterful go.

Hidden Pieces gets better and more riveting with every listen, and as one who missed it first time around, give thanks to the label for giving us all another nudge to its presence and might. Anticipation for its successor is already brewing nicely.

Hidden Pieces is available on CD from November 20th via Into the Night Records @ https://intothenightrecords.bandcamp.com/


Pete RingMaster 20/11/2015

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Metal Devastation Compilation Vol. #1

Metal Devastation Radio - Metal Devastation Compilation Vol #1 - cover_RingMaster Review

Put together and unleashed by Zach Moonshine and Metal Devastation Radio, Metal Devastation Compilation Vol. #1 offers two mighty reasons all metal/rock fans should go check it out and treat themselves. Firstly it was created to raise funds for those battling cancer and to help the families involved, which sadly includes Zach’s own mother-in-law who was recently diagnosed with stage 3a large cell squamous carcinoma of the lung that has spread to her lymph node. With all involvement from the album creators to artists purely voluntary and all proceeds going to the cause, the compilation is very worthy of attention and add the second mighty lure in the fine horde of independent bands, 39 of them, offering their support and sounds, the album is a no-brainer involvement for all.

Within its first handful of tracks the quality and diversity of artists and sound is gripping, a trend never deviating until the final triumph offered by one man Canadian death-grinders Pink Carnage and their glorious trespass of ears and psyche going by the name of Children Of The Damned. The track is a brilliant conclusion to a release which starts off in riveting style too, that variety of temptation springing from opener We Will All Be Trees by Ottawa death metallers …From The Deep. Its ravenous stalking and infestation of the senses makes way for the raw metal of Cape Town quintet Nethercyst and in turn the grooved punk metal of 94 Blades and after the Arizona outfit, the dark invasive black metal courtesy of Iranian band Akvan. The four tracks epitomise the strength and diversity of the album and indeed global underground scene, but still just the tip of the creative iceberg.

It would make War and Peace look like a novella to make a comment on every single song within the album in this review so allow us the indulgence of revealing particular favourites, a choice hard enough in all honesty such, without exception, the mighty propositions making up the album. The thrash/death metal incitement of Le Règne du Chaos is one to grab ears; its creators the French band Amzera who recently released their debut EP to potent responses.

The melodic metal adventure of Canada band Dark Insignia had ears and imagination entwined too through their Longest Day whilst straight after them in the song line-up, Buffalo hailing Dark Morning had feet and neck muscles energised with the sinew driven hard rock revelry of Devour, again the two band’s position side by side showing the potent mix of styles and textures making up a perpetually enthralling playlist.

There are plenty other incitements raising personal lust including Chicago five piece Destroythm, their track Dead Man’s Switch a ravenous slab of groove/alternative, and rapacious metal, whilst another Cape Town hailing band in Devilspeak snarl and chew at the same senses to thrilling effect, the effect of the pair’s hostility soothed by the glorious swagger and charm of EVP from DC trio Hellpie, its bluesy, dark rock ‘n’ roll irresistible.

Danish power rockers RedWolves are another creating an inescapable excitement for our ears with their melodically flavoursome yet muscular sound whilst Rock N Roll Villain Society do what they do best, create a boozy rock ‘n’ roll anthem to get fully involved with.

That vast stretch of styles impress again as side by side both the gripping extreme avant-garde metal of Skindrone and tempestuous antagonistic metal of Skin Kage inflame ears and imagination in their specific ways, successes backed by an array of subsequent storms and provocations including one from Burlington bred death thrashers The Desolate and another through the Antwerp thrash/hardcore crossover sound of Toxic Shock. As mentioned earlier, there are respites from the furies within the album, rich propositions like the bewitching atmospheric stoner seeded exploration of Californian duo Tvsk but generally they are quickly followed by more rousing confrontations like the stirring blues spiced heavy metal/rock uncaged by N. Carolina twosome White Knuckle Black Out.

With the album brought to a rich close by firstly Italian symphonic metallers Winterbreed and their song You Will Cry My Name and the earlier mentioned Pink Carnage, exhaustion is matched by thick pleasure and an urge to explore all those involved, a reaction no one will escape. With more mouth-watering songs from the likes of Critical Dismemberment, Ohol Yeg, Light Keeper… actually we will stop there because every band deserves a bold mention but space limits that so do peruse the track-listing below, hit the links in their names and explore all the bands making up the release, new favourites are a definite result. Then, or before, give yourself deserved pleasure by going over to purchase a copy of the compilation which in turn means helping a very deserving cause.

Metal Devastation Compilation Vol. #1 track-listing:
…From The Deep – We Will All Be Trees 05:28
Nethercyst – Deceit Of The Fallen 02:27
94 Blades – Capone 03:44
Akvan – طبرستان 06:53
Amzera – Le Règne du Chaos 06:12
Anschluss Amor – Faith 04:54
Brutal Death Fuck – Baptized In Cum 03:40
Clawhammer – Damn The Man 05:29
Critical Dismemberment – Feel My Wrath And Tremble 03:46
Dark Insignia – Longest Day 06:43
Dark Morning – Devour 04:04
Destroythm – Dead Man’s Switch 06:59
DevilSpeak – Violently Leading The Blind 05:02
Distis – Destiny 05:23
Dying Eyes Of Sloth – Flesh Collector 03:26
Gravehuffer – Husk 03:12
Hellpie – EVP 05:14
Into The Coven – The Haunting 05:08
Light Keeper – Hard Ride To Hell (Devil’s Train) 04:09
Nostra Cantus – Mind Of Diseases 09:31
Moloch – Nur Der Tod Ist Wirklich 04:40
Morkta – Sorrow In Suffering 04:00
Necrotion – Tormented Unrest 04:16
Ohol Yeg – Obscure Is The Human 04:40
RedWolves – Letting You Go 05:17
Requiem For Oblivion – A Grim Jest 05:27
Rock N Roll Villain Society – Outlaw Trucker 03:06
Shotgun Justice – Nothing Left To Fear 05:54
Singe – Scorch 04:34
Skin Drone – Death Sentence 04:57
Skin Kage – Of Wolves 05:04
Splithammer – Down 03:41
The Desolate – Sentinel 04:55
The EyeSores – Monstrosity 03:45
Toxic Shock – Feeling The Pain 04:19
Tvsk – From Ashes 06:26
White Knuckle Blackout – Gravel 06:50
Winterbreed – You Will Cry My Name 06:24
Pink Carnage – Children Of The Damned 02:16

Pete RingMaster 05/11/2015

Copyright RingMaster: MyFreeCopyright

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Absorb – Vision Apart

Absorb_RingMaster Review

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

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

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

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

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

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

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

The Vision Apart EP is out now.

https://www.facebook.com/Absorbmetal   http://www.absorb-metal.eu/

Pete RingMaster 03/11/2015

Copyright RingMaster: MyFreeCopyright

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Pathologic Noise – Gore Aberration

_MG_1153_RingMaster Review

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

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

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

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

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

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

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

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

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


Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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Christ Agony – Black Blood

Michał Grabowski - photo

Michał Grabowski – photo

Founded back in 1990 by vocalist/guitarist Cezar, extreme metallers Christ Agony have a pedigree and armoury of well-received and acclaimed releases which alone makes the band’s upcoming ninth album, scheduled for release next year, a highly anticipated proposal. Add new three track EP Black Blood as a teaser, or in the words of its press release, ‘the harbinger’ of that impending release, and it is easy to see Christ Agony once again being a highly talked of incitement within black and doom bred metal.

The Black Blood EP is described as Christ Agony returning back to its roots, taking the inspiration of the dark 90’s and the period of their acclaimed 1996 album Moonlight – Act III to its creative breast. Cezar has called the release, “the circle of the wheels of time is complete… the black blood of the universe pumps the venom in the infernal veins”, and there is no escaping the potent and ripe essences of the band’s past bringing rich hues to their new and fresh exploration of sound and senses.

BlackBlood-frontcover_RingMaster Review   Recorded at Studio 666, the EP opens with Black Blood Universe, swiftly engaging ears and imagination in a thick doomy swamp of intrusive black and death metal lit by celestial harmonies and a shadowy clean vocal delivery around the insidious intrusive squalls of Cezar. Thumping beats from drummer Darek drive a torrent of bracing riffs cored by the predatory stalking of Reyash’s bass, their rabid union a tempering contrast but equally incendiary incitement to the melodic toxicity and mellow atmospheric charm of the demonically rousing encounter.

The track intimidates, invades, and seduces body and emotions with equal measure and success, leaving a lingering imprint even as Coronation saunters in with its own sinister swing and rapacious character and sound. Rhythms entice as guitars provide a scourge of scarring riffs and infectious grooves, the bass lying between the two in its bait as the track increasingly lures and grips the imagination, especially when a melodic dance frees itself from the intensive shadows to weave a magnetic web of enterprise courted by the increasingly carnivorous tone and prowl of the bass. The song is a forcibly gripping offering, only tightening its hold on appetite and pleasure with every passing twist of ideation and trespassing lick of insidious sound towards warmly haunting caresses.

The release is completed by Kingdom Ov Abyss, a track swiftly enslaving attention through its rugged rock ‘n’ roll of riffs and hooks within another blanket of emotive intensity. The invasive tones of Cezar again invite as they spew their rancor into the veins of the senses but it is the arousal of pleasure ignited by the belly of rock ‘n’ roll at the heart of the creative and emotive animus that triggers an unavoidable lustful appetite for the song.

If Black Blood is the true hint of the next Christ Agony album than further thick acclaim is heading the way of Cezar and co; more to add to that sure to be provoked by this excellent EP.

The Black Blood EP is out now via Witching Hour Productions, available digitally @ https://witchinghourproductions.bandcamp.com/album/black-blood and on Ltd Ed 12” vinyl, CD, and cassette @ http://store.witchinghour.pl/


Pete RingMaster 02/11/2015