Grim Vision – War Agony

Grim Vision Pic_RingMaster Review

Living up to its title, War Agony is a battlefield, a savage blood spilling assault on the senses and emotions, but a ferociously compelling one. With three tracks of uncompromising hardcore/extreme metal rancor, the new EP from German band Grim Vision leaves scars, bruising, and a toxic taste in the psyche whilst providing a form of contagion that any band would offer blood for.

The Hamburg hailing and 2013 formed, Grim Vision consists of Bibo, Max, Claus, and Schmauke, a quarter releasing debut EP, With Those Who Favor Fire in 2014 to stir up plenty of attention. It was a brutal introduction to their black and death metal influenced hardcore roar but in many ways just a teaser to the creative and physical might of War Agony. Released through Bastardized Recordings, its songs unleash a fury themed through poem-based lyrics about the destruction, war and agony caused by humanity in the 19th and 20th centuries. To be honest, its narrative is primarily a mystery through the harsh and raw delivery of the words, vocals another hellacious texture amongst many others, but it does not defuse the overall impact of tracks, their raw emotion and merciless persuasion.

BE092 Grim Vision - War Agony Cover_RingMaster ReviewFallen Soldier is first up upon War Agony, its initial sonic searing just the spark to an even more vicious beating by rhythms and a wall of riffs. There is no escape, every angle is covered by the onslaught but within the tsunami of spite, the bass breeds a carnivorous and gripping groove and the song virulent infectiousness forcibly driven by the swinging scythes of drum sticks. It is punk rock at its nastiest, metal at its most cancerous yet together they breed something as catchy as it is punishing. With hooks and increasingly rousing grooves aligning with anthemically violent rhythms, locked in an animus of noise and intent, the track is a rigorously magnetic start to the encounter.

The following War Machine is just as uncompromising and addictive, every creative and body bred sinew loaded with ire and each individual riff drenched in hostility, whilst vocals blend a mix of both as the track again stirs up an infection of toxic air and furious incitement. Whereas its predecessor was an all-out tempest, the second song twists into more controlled and predatory adventure towards its close, an unpredictable and pleasing turn which lays the seeds for the most inventive and diverse song on the EP.

The closing Ten Minutes opens with skittish percussion and beats around seemingly distorted samples. As it embraces the slow, menacing gait of a bass prowl, echoes of war and damaged lives continue to share their voice to the ‘mellow’ passage before sonic smog of doom bred rapacity crawls over song and senses. It is a caustic cloak brewed by guitars which brews up and boils over into an animalistic ravishing with nostrils flared and unbridled antagonism. Again though when hell lets loose there is an inventive resourcefulness within a web of addictive bait which hooks ears and appetite as potently as the raging burns them.

War Agony is obviously not for all, but anyone with a taste for extreme metal and punk crossovers, especially those cultivating the angriest noise and malice, should get a huge pleasure out of Grim Vision’s new furore.

The War Agony EP is available from August 28th on limited edition 7″ vinyl and digital formats through Bastardized Recordings.

Pete RingMaster 28/08/2015

Copyright RingMaster: MyFreeCopyright

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Shitshifter – Intruders

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Shitshifter’s sound is a blizzard of raw emotion, vicious intensity, and a rage as primal as the dirt at the centre of the earth. It also breeds a bewilderingly contagious energy and incitement aligned to persistently fascinating and unpredictable imagination. It is devastating aural liquor that ensures the German band’s album Intruders is one hellacious and invigorating proposal. This is a release and artist which certainly is not for the faint-hearted or for those needing a safety net with their music. For all who have an appetite to bleed from the ears, delve into toxic emotions, and go places which the Geneva Convention would like to cover if it could, Intruders has the attributes to be a punishing revelation.

It maybe should be no surprise that Intruders is as vicious and compelling as it is with its founders other projects including I Am the Bayonet, Hungry Lungs, Twinesuns, and Nvrvd; bands which have offered plenty of brutally creative treats, the last two in very recent times. The trio of drummer Tobias, bassist/vocalist Stefan, and guitarist Christian, formed Bielefeld based Shitshifter in 2012, fusing the fiercest, most inhospitable strains of death and sludge metal with hardcore viciousness bred on raw crust/d-beat causticity. It is a mix which is unafraid to dip into varied flavours and inventive detours at times, but primarily is cultured to corrupt the soul with pestilential enterprise whilst lyrically tearing into religion.

Worth It and invasive smog of sonic confrontation is the album’s first touch, this soon joined by heavy footed, predatory rhythms alongside the rasping venom of Stefan’s vocals. From here on in, music and voice spew toxicity with every note and throat searing squall, never relenting even as the carnivorous and scarring tones of bass pace sludgy tendrils of guitar, their union creating a barbarously addictive swagger as the senses are scorched by the tempest of intensity and sound. The track’s gripping qualities continue with Kings And Queens, the second song evolving from the final sonic intrusion of its predecessor into just over a minute of even more corrosive and gripping enmity. There is no mercy given or wanted as guitars vein the track like lava and rhythms somehow craft an anthemic nature to the mass onslaught.

Again one scourge of sound and invention slips into another as The Demagogue takes over, the track almost skipping into ears and psyche before unleashing a cancerous cacophony of sound and intent equally as barbaric and skilfully addictive as offered as the last song, though with again no breath allowed between, it gets outgunned and shone by its successor. Far From Eye, Far From Heart stalks air and listener with a rapacious glint in its creative eye and a doom pungent atmosphere which grudgingly drips onto a melancholy soaked canvas. The harrowing but elegant landscape has its own moment to provoke and inspire the imagination too as the hordes of sonic hostility holds back for a passage of haunting calm before they converge on ears again with arguably more restraint but greater threat.

For once there is a break, a couple of seconds of nothing between songs before the outstanding Loyal Dog brings its predation into view with a punk inspired prowl and cold post punk toning to the melodies dripping from the guitar of Christian. Stefan’s bass is simply carnal in tone and touch, tempering the chilling but inviting embrace initially offered though by half way that too is spilling rancor and insatiable ferocity. The track epitomises the Shitshifter sound, its merciless intensity and creative gall but also the always present adventure of invention and styles woven into the excruciating storms if they are at times overwhelmed by the fury.

Igod is another minute plus tirade of sound and ire, and another violation easy to get addicted to whilst Nothing In Common in similar form and barbarity just pummels existing wounds with its metal framed emotional bedlam and bitter hardcore contempt. The pair forcibly light ears and appetite before the closing ShitShepherd ensures the union of band and listener ends with a lingering trespass physically and emotionally, and arguably the album’s pinnacle, though many tracks have a case to claim that.

Song and album just hit and violate the sweet spot, though obviously Intruders or Shitshifter will not be for everyone, with you can imagine many barely lasting a couple of minutes of torment, but if filth infested hardcore/death metal crossovers or indeed the band’s other projects, though openly different, are for you, then bliss could be in the volatile air.

The self-released Intruders is out now.

RingMaster 19/08/2015

Copyright RingMaster: MyFreeCopyright

27 Tons of Metal New England – Various

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And Bluntface Records do it again, thrusting the underground scene at the senses courtesy of another essential compilation of some of the most striking and potential drenched bands around. This time the US label is exploring the underground metal scene from New England, which on the evidence of 27 Tons of Metal New England, is simply writhing with great ravenous bands and sounds. The release is as diverse in styles as it is voracious in creativity and though with the amount of bands and metal subgenres involved personal tastes will obviously find a greater hunger for some over others, it is fair to say that the album from start to finish is a compelling treat with no weak spots, and all the more tastier for being completely free.

The encounter opens with Carnivora and a track taken from their outstanding EP, The Vision. Pessimist’s Tongue is the Danvers quintet at their full blistering best and weaving suggestive ambiences into subsequent tapestries of rabid vocals and rancorous intensity. Yet despite its almost cancerous intent and creative breath, there is anthemic energy and a web of searing adventure from the guitars involved, which in turn sparks addictively imaginative exploits from the band across the song’s corrosive landscape.

It is a scintillating start to the release pushed on by Alterius and their uncompromising melodic death metal trespass on the senses, A Citadel’s Demise. The song comes from the band’s latest EP Voyager, and merges classical overtones into its fluid brutal and seductive tempting. Like being serenaded whilst the beast tears your throat out, the track stalks ears and psyche setting in motion a keen appetite to know more, a success matched by Revere quartet Travel Amygdala and their aggressively smouldering Died by a Bullet. Entangling its inventive metal bred sound with progressive and grunge seeded imagination, the song aggressively crawls over the senses enticing and intimidating, especially as it builds in energy and tempestuous air. There is also a potent sludge feel to part of its character too, the thick prowls between forceful strides of creative and vocal drama carrying the strongest whiff, with ultimately everything uniting for one riveting proposition.

Bostonian black metal trio Ashen Wings comes next, the band’s raw and carnivorous sound a bracing magnetic scourge delivered to ears from Cancerous Bones. As insidious and ruinous as you can imagine, it also spawns a swing to its gait which only adds to the addictive proposal on offer before making way for the just as destructively virulent Scourge of the Hierophant from Sorrowseed. A blend of blackened death metal with a healthy vein of classic and melodic tenacity, the increasingly thrilling track smothers ears and appetite with pestilential persuasion whilst provoking the want to offer vocalist Lilith Astaroth some soothing for her surely shredded vocal chords.

band-contacts-page-127 Tons of Metal New England      Walk the Earth (No Longer) from sludge/doomers Conclave steps up next, the nine minute intrusion an accomplished and enthralling predation cast with rugged heavy riffs and heavily swiping rhythms, all lorded over by just as unpolished and alluring vocals. From their Breaking Ground EP, the song is as effective descending on ears in top gear or in crowding their walls with a lumbering and weighty provocation within a long but never less than thickly engaging incitement.

The same kind of hold is seized by Beneath The Burial next and their track In Memory, its fusion of hardcore ferocity and metal spawned sonic invention a fury of searing grooves, vocal animosity, and subsequently predatory imagination. As the album itself, there is a wealth of flavours emerging across the track musically and vocally, which only adds to the slow but fiercely burning persuasion of the song to inspire a want for more as it makes way for Skin Drone and God Complex. One of the few bands these ears had already come across and previously devoured, the duo of Bluntface Records founder Otto Kinzel and Erik Martin of Erik Dismembered and Critical Dismemberment unleash one of those examinations which you never know whether to fear or whole heartedly embrace, the latter always the chosen reaction of course. Like a sonic scavenger, the track vocally and musically spills its creative industrial/metal animus on to the senses within an evocative ambience which then inspires a melancholic exploration of emotive and creative expression. The song is a cauldron of inventive sound and emotional intensity, a rich picking for those with an avant-garde side to their preferred examinations.

The scorching designs and temperament of Dirty Birdy from metalcore furnace Don’t Cross the Streams is next; band and track a scarring addictiveness which without springing major surprises has ears and heavy enjoyment sealed from the first clutch of seconds. Their triumph is quickly backed by Stoughton power/progressive metallers Forevers Fallen Grace and Clarion of Regret, another song which needed warming to before its potent expanse of craft and enterprise became an inescapable hook, and after them Makavrah with the excellent Awakening The Ancients. The Peterborough hailing doomsters have a sound which is dangerously mesmeric, a senses meddling sonic bewitchment which as shown by its twelve minutes of evolving soundscape, is hex like in its ingeniously dramatic and creative exploration. With echoes of Show Of Bedlam to it, the track is one delicious incessant crawl.

The industrial endeavour of Isolated Antagonist more than lives up to its offering’s title next, Infection a contagious causticity of sound and emotion with vocals to match as it worms under the skin and into the psyche with lingering rewards, whilst the following Composted bring a carnal presence and hostility into the equation with their track OB/GYN O.G. The band’s death metal onslaught has the voracity of thrash and swagger of groove metal to it, and as hungry hues only help to create an immense and irresistible corruption.

Both Charlestown sextet Untombed and Mike Kerr Band keep the riveting roar of the album going, the first with their groove and antagonism loaded death metal antipathy, Criminal Inception. Savage and violently catchy, the track is another which is maybe not gripped by original exploits but is one spilling a fresh venom which leaves a great many of fellow emerging genre bands in the shade whilst its successor is the title track from its creators recently released new album The Truth of the Lion and features Texan vocalist Adrienne Cowan and Jim Oliveira in its classic/melodic metal lure.

Power groove metal is on the agenda next through Before the Judge and their track Bobby D. With a highly agreeable nag of riffs and grooves lining its erosive blaze, the song stirs the blood band-contacts-page-2_RingMaster Reviewwhilst pouring more diversity into the compilation, variety further expanded by The Aberration and their track Bologna Skins are the Next Big Thing. The band consists of Travis O’Connell (guitar) and Jim Cole (drums), an instrumental duo creating, on the evidence of their contribution, compelling proposals of snarling progressive metal loaded with uncompromising attitude.

Melodic death metal quartet My Missing Half scars air and ears next with The Lives I’ve Ruined, a song with essences of The Black Dahlia Murder and At the Gates to it whilst finding its own magnetically inventive nature. The track leaves emotions and senses breathless but hungry for more as so many on the release, including Seeds of Negligence and their maelstrom of varied and inhospitable metal posing as The Reaper. The song is a bruising and vicious temptation of death, groove, thrash, and progressive strains of extreme metal, an incendiary incitement sparking a lust for further confrontation.

Dover trio Cactus Hag drags the listener back into a rich immersion of sludge and doom invasiveness with Grand Lodge of the Mirage, the track an insidious erosion snuffing out light and hope whilst sparking just as strong enjoyment. Its smothering rancor is contrasted by the brighter and superbly volatile adventure of G.O.G. from Side Effects May Include, the song another entwining a mass of different styles into its individual tempest of heavy rock and creatively rabid metal, and another only leaving the urge to go explore in their wake. Which is something which also applies to Pelham’s Epicenter and the thrash fuelled insurgency of See Through. With strands of alternative and groove metal to its robust and tenacious exploits, the track is as anthemic as it is strikingly inventive, and amongst admittedly many, an instinctive favourite.

band-contacts-page-3_RingMaster Review     Fog Wizard get body and passions inflamed again with Fear the Kraken, a rapacious prowling built like Sabbath meets Motorhead with the attitude of Stuck Mojo and the combined snarl of Slayer and Black Flag. One slab of real pleasure is replaced by another and the abrasive kaleidoscope of sound unveiled by Sonic Pulse through Defenders of the Good Time. A brawling festival of power and thrash metal with a flurry of heavy and classic metal hues for greater captivation, the track is a ferocious blaze equipped with drama, familiarity, and inescapable bait.

The heavy weight slab of talent is brought to an impressive end by a trio of bands to also keep a close eye on, starting with the bestial sound of extreme metallers Graveborn. Their mercilessly hellacious and skilled Leviathan is sheer sonic and rhythmic savagery with just as brutishly varied vocals, and another big enticement before heavy/thrash metal Verscythe prove their classic seeds in the richly magnetic Land of Shells.

Completed finally by Vacant Eyes and the melody sculpted funereal death/doom exploration that is The Dim Light of Introversion, a track thick in atmosphere and haunting trespasses for a darkly compelling seducing, 27 Tons of Metal New England is an intensive journey through the depths and expanses of New England’s underground metal scene. It is one of the most extensive and rewarding compilations in a long time which from start to finish, enthrals and assaults, entices and transgresses. If any metal fan does not come away from the encounter with at least a handful of new lusts we would be amazed. So no dawdling, go and get one of the biggest and best free treats of the year,

27 Tons of Metal New England is available for free download @ http://bluntfacerecords.com/27-tons-of-metal-new-england

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

UMA COMPILATION 2015

PICReputation Radio/RingMaster Review

It is time for the Underground Metal Alliance (UMA) compilation of some of the best underground metal bands in Italian, and once again UMA Compilation 2015 awakens ears and attention to a host of highly accomplished and thrilling encounters. With a line-up selected by fans and the UMA jury, which included members of Exilia, Sadist, Nanowar as well as managers of studios and festivals, plus other bands already part of the selected UMA roster, the album is an eclectic treat which is all the more sweeter through its availability as a free download for all.

It kicks off with Milan symphonic folk metallers Atlas Pain and their track Each Uisge, a rampant canter of rolling feisty rhythms and raw folk tenacity. It roars and bristles with magnetic persuasion lifting its potency further when allowing a Celtic influence to flirt with the aggressive heart of the excellent starter. It is a fine opening continued by Avoral, epic metallers from the same city, and the dramatic War Is Not Over. With nagging riffs, enjoyably theatrical vocals, and muscle-bound rhythms, the track is an attention grabbing bellow which even ears not quite enamoured with their seed genre can find plenty of resourceful and imaginative textures to enjoy and be involved in. In any large compilation you will always find some songs not quite fitting personal tastes but from start to finish it is fair to say that the compilation has little difficulty sparking a healthy appetite for the strengths and unique characters of all those involved.

Caelestis and Calico Jack are another example of the diversity across the release, the first a Naples duo creating provocative blends of post/progressive rock and shoegaze which immerse ears in captivating landscapes and the second pirate folk metallers from Milan who stomp over the senses and into the imagination with their busy and fiery adventures. The band’s songs are poles apart yet alongside each other, Ode Al Mare and House Of Jewelry make a highly satisfying union backed by the following punk folk metal of Evendim, their raucous temptation Whiskey On Fire an instinctive whipping up of energy and participation from those taking a swig of its rousing persuasion.

A web of nu and progressive metal cast by Pescara quintet Fake Heroes is next and quickly emerges as another keen favourite. The strong vocals in On The Hill are a mellow lure within skilfully conjured tempestuous sounds which busily twist and entice around them. Featuring Giacomo Castellano, the song is a compelling embrace of emotive and technical tempting, almost volatile at times though it is soon clear that GorganerA have that area cornered with their malevolent fusion of death and black metal. As shown by Veleno, The band embraces familiar inspirations yet though only one song, as it stalks and barbarously seduces ears there is an open variety of flavours and ideation ensuring the track stands out.

Away From My Fears from Edolo trio Hell’s Guardian is one of the songs which on first listen seem to lack the spark of others but with persistent listens begins revealing its eventful and increasingly enjoyable attributes, the vocals especially growing in stature and raw charm. It is a slow burn of persuasion, just like the following Falling Snow from avant-garde metallers Ideogram, but an increasingly impressing one. The latter’s offering from its first breath casts elegant melodies and evocative sounds in a masterful invitation, the track subsequently growing into an unpredictable and again persuasive offering as operatic and guttural growls bring their striking mix to an unrelenting maelstrom of musical enticement.

Como quartet Ignotum offer a slice of their enjoyable debut album Larvas Mortal God next, the atmospherically fiery and raucously trespassing Hecatomb Memories an intrusive and compelling insurgence of the band’s black/death enterprise. Its mighty incitement is matched by Kanseil and the excellent roar and devilment of their track Panevin, a song which leaps upon ears from its first breath inciting pleasure physical and emotional enjoyment from thereon in with its anthemic and melodic folk metal revelry.

Novara avant-garde metallers Locus Animæ is another band taking longer to get into, their startling sounds and minimalistic ambiences a pleasingly testing adventure with constant rewards ensuring their song, which also carries the band name, grows to be another welcome proposal over time. Similarly Insane Asylum from heavy rockers Mary Brain is a y less immediate tempting compared to other tracks but soon turns into a raucous highlight with its jagged riffs and predacious personality.

For personal appetite and ears, the album hits the sweet spot over the next handful of songs, starting with the excellent Mechanical God Creation and their slab of technical death metal brilliance, Shadow’s Falling. The song is a brutal beast of intensity and craft, a track making you stand up and pay attention with consummate ease. To be fair every song on the album does do that, though maybe few as commandingly as Milan quintet’s offering. It is followed by Lady Loneliness from Misteyes, the song a bewitching serenade of gothic metal led by a beauty clad caress of female vocals and keys. It gets darker and nastier over time but never loses its elegance and grace.

The outstanding rapper/masked guitarist Red Sky is next, his percussively lively and rhythmically compelling track I 7 Vizi Capitali, an undiluted temptation. The track is a quickstep of animated ideas and atmospheric shadows, a riveting jungle of stirring textures and shamanic tones kissed by the pipe seduction offered by guests Kanseil. Its enslaving persuasion makes way for Scum and their ferocious assault on the senses, Becoming Heavier. Thrash bred, punk infested, and woven with a host of metal essences, the song is a delicious and bracing onslaught, rich in craft and unbridled in fury, and quite thrilling.

Gallipoli heavy metallers Serial Vice provide a heftily flavoursome roar next with You Are Heroin, the song another inescapable anthem bellowing from within the album, whilst the blackened death metal fuelled Il Culto Della Pietra reveals its creators Veratrum to be a gripping and quickly intriguing prospect from Bergamo. Both songs are ripe with enterprise and craft, the latter of the two a broad expanse of textures within a mix of blistering hostility and alluring melodies.

The collection is brought to a close by a trio of tremendous creative outbursts, starting with Roma heavy metallers Whisperz and the rabid tempest of metal bait called Malicious Intent. Taken from their self-titled album, the track is a rugged and flirtatious lure of old school and modern metal, a rousing of attention and energy which the following Winterage takes on its own bold journey with The Harmonic Passage, a symphonic power metal recruitment of body and emotions, and yet another inescapable anthem bursting out. If there is still anyone yet to find their feet listening to the release, there is no chance of remaining uninvolved as Wolfang brings it all to a storming end with their fiery riot of Wild Forest. It is symphonic folk metal let loose to ravish air and ears with unbridled passion and energy.

It is a fine end to an invigorating and exciting release. Italian metal is blooming right now and the UMA Compilation provides all the evidence whilst shaping up to be one of the best collections of artists to thrill ears in recent times.

You can get your copy of UMA COMPILATION 2015 as a free download HERE.

http://www.undergroundmetalalliance.com/
RingMaster 24/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Carnivora – The Vision EP

mkramer_Reputation Radio/RingMaster Review

Boston metallers Carnivora first caught our attention with an appearance on the excellent Bluntface Records compilation Operation: Underground. It featured a track from the band’s debut album Eternal, which after investigation turned out to equally be a stirring and attention exciting proposal. Now the band returns with the vicious exploits and temptations of The Vision EP, a ravenous and thrilling declaration of all the band’s skills and even bolder creative enmity.

Everything about The Vision is a step up from their impressive and acclaimed 2013 debut, the EP’s four tracks a cauldron of fierce imagination and volatile invention cast in maelstroms of diversely sculpted extreme metal. Groove and melodic metal enterprise colludes with death and thrash animosity in slabs of unpredictable and brutally irritable incitements, but furies ripe with captivating sonic adventure and melodic expression. Its release follows a successful couple of years which saw the band tearing up festivals such as the New England Metal & Hardcore Festival, Rockstar Energy Mayhem Festival, The Summer Slaughter Tour, and Rock And Shock Festival, all last year, with their merciless sound and share stages with the likes of Cannibal Corpse, Behemoth, Overkill, Trivium, Job For A Cowboy, Avenged Sevenfold, Morbid Angel, Shadows Fall, and many more. The Vision is Carnivora now snarling viciously at broader and more intensive spotlights and a global awakening to their presence sure to be on the cards such the EP’s dramatic persuasion.

CARNIVORA_VisionCover_jpegReputation Radio/RingMaster Review     It opens with A Vision In Red, a song venomously driving through ears straight away, swiftly getting under the skin and invading into the psyche. Riffs and grooves from Cody Michaud and Mike Meehan swarm maliciously over the senses, their addictive presence and prowess addictive bait to which the raw vocal squalls of M. Scott Lentine unleash a diversely delivered and magnetic hostility. It is a gripping proposition, the barbarous swings of drummer Dan DeLucia and serpentine tones cast by the bass of Cam Hunt, an addictive spine around which the guitars blossom and expand rich acidic textures bred in sonic imagination. As unpredictable as it is fascinatingly virulent, increasing in both the further it evolves its creative landscape, the song provides a tremendous start to the release.

Its success is quickly matched by Pessimist’s Tongue, its opening suggestive ambience subsequently whipped up into a tempestuous climate of blistering and rancorous intensity. The guitars lay out a melodic invitation even in the stormy climate of the song, a beckoning impossible to resist despite rhythms hailing down on them and the senses. The vocals, singularly and as the band, soon bring another shade to the encounter, offering a cancerous trespass and rally cry for thoughts and emotions. The song is a glorious violation with underlying temptations such as an understated but seductive lure of keys, solidly backed by Razors & Rust. Arguably more restrained than its predecessors, well slightly more merciful, the track stands toe to toe with the listener raging vocally and emotionally whilst guitars again entangle their enterprise around body and imagination. It does not quite have the spark of the first two tracks but easily entices ears and thoughts into exploring its rich depths and textures to a success similar to that found by those before it.

With a thrilling end to its creative ire, the track departs for EP closer The Reek Of Defeat to provide a final bracing and abrasive ravishing. It carries an almost mischievous flirtation to its melodic design and adventurous gait yet there is little about the song which not predatory or fuelled by bad blood. Its consuming maliciousness leaves ears ringing and emotions high and enjoyably completes a thrilling onslaught of a release.

Carnivora has climbed to new plateaus with The Vision EP yet you can only feel it is just the start of new and greater creative grudges, which in turn is a thought and anticipation to savour.

The Vision EP is available from 23rd June via Manshark Entertainment @ http://carnivora.bandcamp.com/ and http://carnivora.bigcartel.com/

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

RingMaster 23/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Sanzu – Painless

sanzu_web_2015_ Reputation Radio/RingMaster Review

With a sound as tempestuous and unforgiving as the dragon-infested rapids swallowing those of evil trying to cross the River of Three Crossings (The Sanzu River) in Japanese Buddhist tradition, Australian death metallers Sanzu make a potent introduction of themselves to the wider metal scene with debut EP Painless. Whether there is a link between band name and the way to the afterlife above we will have to find out, but certainly the Perth quintet provides a journey for ears and emotions with their release just as provocative and compelling.

Formed in early 2013, the Western Australia and subsequently the country’s metal scene have known about Sanzu and their technically ferocious, groove infested turbulence for a while now, but the unleashing of Painless gives the rest of us the opportunity to devour just as greedily their imposingly striking sound. The band is the creation of drummer Ben Stanley and guitarist Century, both former members of Malignant Monster. The addition of vocalist Zachary Andrews and bassist Fatima Curley took the band into the local live scene, their old-school death metal inspired by the likes of Morbid Angel infused with modern metal imagination recalling bands such as Gojira, quickly whipping up fans and attention. After the line-up was completed by second guitarist Mikey Hart, Sanzu ventured into the studio with producer George Lever to record their five track debut. The result was Painless, an uncompromising and gripping fury announcing the band as one seriously exciting newcomer hitting extreme metal.

The EP is instantly stalking and ravaging ears through opener 18 Days of Rain, riffs and rhythms ravenous predators bound in wiry sonic tempting. The track makes a gripping and impressive entrance, continuing that potency as grooves begin winding their way around the hostile spine of the song and the equally intensive examination of Andrews’ vocals. As inhospitable and enraged as it is, the raw tempest is ripe with spearing sonic intrigue, rabid unpredictability, and a web of tech and progressive tenacity, the song rigorously seducing the listener as it tears strips from their senses and psyche.

sanzu_painless_ Reputation Radio/RingMaster Review   The immense start just keeps going in the individual animus of For All, vocals and grooves instantly searing air and ears whilst just as swiftly the song’s landscape twists and turns in on itself to persistently wrong-foot and enthral. Though it is hard to say the band’s sound is majorly original, there is an ingenuity and freshness to its creative malevolence and craft which announces Sanzu as no run of the mill or expectations feeding incitement. The encounter is the perfect example with anything familiar quickly woven into an unrelenting and almost psychotically tenacious maelstrom of ideas and imagination.

The following Defamer brings a swarm of waspish coaxing from its first breath, eventually employing them in a rhythmically sadistic and sonically antagonistic prowl governed by the outstanding squalling tones of Andrews. Every aspect of the band is at the top of its game though, the bold and carnivorous swings and bass groans from Stanley and Curley respectively imposing and inescapably addictive against the savagery and magnetic exploration sculpted and released by the guitars of Century and Hart. This collusion applies across the whole of Painless in varying forms, but arguably is given the biggest pedestal to shine from through the gloriously malicious terrain of the third track.

Intensity and rabidity takes an even more voracious spin with Variant Red next, the track a tempestuous tsunami with less defined textures and scenery than in previous songs but replacing them with emotional turbulence and unbridled bitterness in air and intent. Into its depths though, the storm does clear enough for the guitars to openly spin a tapestry of imagination and inventive dexterity, a lure matched rhythmically and vocally. The provocation is superb, though that again applies to virtually every moment within the EP, but here, ears and thoughts are just spellbound whilst being twisted inside out.

The release is completed by Lunar Crush, a song which from a gentle melodic enticement brews and intensifies a jaundiced antipathy between it and the listener. Usually the oasis in the storm is in the middle of the song, but here it starts the evolution of venomous invention and despoiling intent, every passing minute, indeed second, leading into the jaws of carnal temptation and vicious adventure.

Painless certainly does not describe the experience of listening to the EP but for every nerve turned raw and emotion ripped asunder, the deepest instinctive pleasure emerges. Death metal has a new merciless provocateur in town and Sanzu is its name.

The self-released Painless EP is out now @ https://sanzu.bandcamp.com/album/painless-ep

https://www.facebook.com/SanzuOfficial

RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

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Serpent Seed – Debris of Faith

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There is little we can tell you about Polish metallers Serpent Seed, their background information as sparse as their sound is imposingly flavoursome, but one thing about the band easy to reveal is that their debut album is one potent and potential fuelled proposal. Consisting of seven attention feeding and appetite raising tracks, Debris of Faith provides instant evidence that Serpent Seed, though not yet a startling proposition, is certainly a fresh and fiercely enjoyable new protagonist in the extreme metal landscape.

Serpent Seed hails from Łask, forming in 2012 with the current quartet of guitarist/vocalist Aryman, guitarist Jatssa, bassist Jakub, and drummer Wojtass bringing experiences from playing in bands such as War, Lugburz, Iugulatus, and Slain to the project. Honing a sound merging death and black metal at its core, the band recorded their debut release last year, Debris Of Faith emerging via The End of Time Records. It is a challenging and compelling incitement on ears and imagination, an intriguing encounter which without tearing up the creative neighbourhood provides new and accomplished scenery.

The album opens with Demon’s Blade, guitars instantly casting a web of predatory riffs and enticing melodic intrigue as rhythms hungrily descend with their own infectious potency upon the senses. Its climate is dark and ravenous, nature inhospitable, but even with the menacing blackened tones of the vocals, there is a gripping and catchy lure fuelling the tempest. Just as swiftly evident as the consuming heart of the song, is the individual skills of its members and songwriting which takes every opportunity to twist expectations and keenly venture into new corners and depths within the band’s sound.

The strong start is eclipsed by the following stalking of ears and emotions by I Spit on Your Cross. The heavy oppressive maelstrom opening the song soon expels an irresistible groove which, as the song itself, continues to evolve and take on new guises without losing its potent temptation. It is also the spark to a matching invention from guitars and rhythms around it, a sonic tapestry seducing the barbarous and addictive landscape shaped by the grouchy bass and the rapier like barracking of the drums. Quick slavery of attention and appetite, the outstanding song makes way for the even more hellacious and uncompromising Mother Night. The song stalks the listener with its first and every subsequent breath, holding that intimidating restraint even through its intensive expulsions of sound and ire. As fascinating as it is invasive, the track is an apocalyptic suggestiveness for thoughts and a battlefield for the senses.

Both Płonie Stos and Unholy Trinity continue the tight hold of ears and satisfaction, the first the most dangerous predator on the album with its demonic sonic tones insidious and cavernous ambience debilitating. Despite that as further melodic craft and enterprise fiercely flames upon the rabid canvas of the encounter, there is a virulent persuasion and inviting air to the song leading, or misleading, emotions into feasting on the rancorous heart of the incitement. Its successor is similarly sculpted but soon uncaging its own distinct animus of sound and emotion, if without quite having the same extensive temptation as its predecessors. Nevertheless the song grows and blossoms as it persists with its creative ravaging, leaving only thick enjoyment in its wake before the thrilling song Serpent Seed, spreads its sonic and inventive malignancy through ears to devour the senses. There is at times a similarity in certain aspects and tones to songs within the album, noticeable again here, but everything is soon woven into new tapestries and violations which ensure diversity and the imaginative playing of the band are the lingering enticement.

One major moment makes way for another with closing track Bloody Vengeance, a song which prowls and erodes emotions with every one of its malevolent creative seconds. Though not as easily accessible as other songs, it is an engrossing provocation forging the sonic endeavour of the guitars to the unpredictable and gripping bait of the rhythms. With raw and caustic vocals driving the narrative deep into thoughts, the song is a powerful end to a thoroughly pleasing encounter.

For an introduction Debris of Faith is a concrete and promise soaked base for Serpent Seed to move on from, so expect to hear their name on a more regular and acclaimed footing over coming years.

Debris of Faith is out now via The End Of Time Records

https://www.facebook.com/pages/Serpent-Seed/706607769433831?fref=ts

RingMaster 14/06/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net