Wrathage – Discipline

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Seventeen years or so after their emergence, and three of those years in the making, the debut album from Finnish metallers Wrathage is a proposition which no matter how it initially takes you, leaves a compulsion to explore more and more of its ultimately enjoyable depths. Discipline is a striking and increasingly thrilling slab of dark extreme metal, a collusion of black and death metal predation and ferocity embracing an avant-garde and experimental nature. It is not always as successful with personal tastes as it is other times but when it hits the sweet spot, which are numerous, the album is one of the most intriguing and exciting propositions heard this year.

Wrathage began way back in 1997, formed by identical twins Scythe (bass, vocals, guitars) and D.V Grim (vocals, guitars). With only the intent of creating music which lit their own fires, the band has gone through numerous line-up changes, especially early on, whilst exploring and honing an ever evolving sound. A self-titled demo in 2000 was the first of three over the next five years whilst 2008 saw the release of the well-received Crawlspace Antipathy EP. The gap to its successor and first album has again been a long time waiting but now with Scythe and D.V Grim joined by guitarists H-beast and Viha, keyboardist Tero Nevala, and drummer Kuismahc, the Oulu band is poised to ignite highly anticipating appetites and a horde of newcomers with their enthralling offering.

Wrathage_2015_discipline_Cover     As soon as opener Dark matter engulfs ears, thoughts of Emperor and Morbid Angel come to the fore, yet equally a fresh individualism in presence and sound too. The song opens with epic sways of guitar around dramatic vocals, a mix soon immersed in a wash of equally theatrical keys and heavily jabbing beats. It is an attention grabbing start, a respectful one too as every element from guitar to keys, voice to rhythms create imposing but restrained proposals on the senses. Of course it is a thought too soon as within moments the factors collude to create a rapacious tempest of sound and intensity. The song proceeds to entwine classical and blackened enterprise with predatory ferocity, twisting and lurching through a fascinating and enticingly turbulent landscape of invention.

The following Born girt for war blends a ravaging hostility with a broader celestial atmosphere whilst also providing a more intimate stalking at times. Within its first half minute the song is already an unpredictable theatre of textures and sounds driven by the equally dramatic and enjoyable mix of vocals, which include a guest appearance by Catamenia frontman Olli “Oujee” Mustonen. The underlying persistent prowl of the song keeps everything on course before Of the great chief comes in on an opening blaze of guitar endeavour within a sinister climate. As the previous track, it does not make the same impact as the first song but every turn, every twist in its body brings further bait for ears and appetite to keenly devour, especially its rhythmic enticing.

The album truly comes to life from fourth song Walking to death; it is like Discipline has sized up personal tastes and then gone to work on instinctive wants and pleasures. The track marches in on a horde of synchronised boots, vocals swiftly leading the way with equally imposing intent. They are soon joined by a web of sonic ideation which alone ignites the imagination, whilst the broader melodic sweep of keys only enhances the addictiveness veining the song. It is a masterful enslavement which only tightens its grip with a slip into an almost carnal landscape of dark drama caged by an excellent bestial bassline. Riffs equally have an animalistic snarl to their touch, and a raw tang which reminds of Scottish band Skids. It is an inescapable anthem matched by the exceptional Unslaved, which also sees Mustonen guesting. Celestial keys caress ears first, their ethereal theatre tantalising but barely hinting at the temptation to come. A vocal lure bridges the start with the mouth-watering and grizzly bassline which follows; this the spark to an infection of hungry riffs, antagonistic rhythms, and bad blooded vocals. It is the magnetic swagger and blood thirsty character of the grooves which provide the fuse to the strongest ardour, their infection intertwined with the spiteful provocation elsewhere.

Distortion sees another guest in the shape of Khaos from Deathchain & Deathbound within its midst, and also sparks a new urge of greed for the release with its carnivorous presence and contagiously creative rancor. Once again expectations are given a cold shoulder as the track explores death and blackened scenery with thrash bred ferocity and a hellacious attitude of sound and invention. There is never time to catch a breath upon Discipline, but one is needed after the torrential hostility and intensity of the excellent encounter. A quick gulp those is all that is allowed as the insidious scavenger Reptilian crawls over the senses and into the psyche with primal and sonic animosity. It is great toxic incitement, its rhythmic and driving riffery an insatiable onslaught but above it guitars and keys are almost flirting with slow and devilish seduction.

After a vocal enticement, Sadicum is an erosive sonic tempest which alone would satisfy if lacking the spark of its predecessors, but the band is soon spearing it with shards of melodic spicing and a persistently evolving and enthralling weave of progressive fuelled keys to create another tasty assault. The song is still more of a smoulder on the passions than a roar like other tracks, but a lively simmering pot of adventure which over time brings thoughts and appetite to the boil very nicely and hankering for more.

The album concludes with firstly The crawlspace, a bordering on psychotic smog of sound and enterprise which is as suffocating as it is explosive on the senses. Some of the vocals are less successful on the ear but a mere blip in another pleasing track before the band brings it all to a close with a cover of the Morbid Angel track Dawn of the angry. It is a very decent and enjoyable offering but the meat and major joy of Discipline is in the band’s own slices of distinctive predation.

Discipline gets better and more revealing with every listen, even a handful plus of plays unveiling fresh elements and greater craft in the creative flow and sculpting of the release. As mentioned some moments create a bigger blaze in the emotions but from start to finish Wrathage has delivered one impressive encounter to revel in and to heartily recommend.

Discipline is available from March 30th via Maa Productions and at http://wrathage.bandcamp.com/album/discipline

https://www.facebook.com/wrathageband

RingMaster 30/03/2015

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://reputationradio.yooco.org/

 

Conceived By Hate/Akheron – Coalition of Death

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Released via Morbid Skull Records, Coalition of Death is another enjoyable split release introducing a wider audience to two more seriously accomplished underground propositions. The bands given the platform are El Salvador’s Conceived By Hate and Colombian metallers Akheron, a pair of thrash bred antagonists with potent sounds to highly satisfy and excite ears. Each provides four captivating and bruising offerings, including one cover each, all combining to create an encounter which is not a landmark release or going to stop metal in its tracks but certainly gives both bands a higher profile in a worldly spotlight.

CONCEIVED BY HATE

CONCEIVED BY HATE

Death thrashers Conceived By Hate are first up, a band formed in 2002 by Morbid Skull Records owner, guitarist/vocalist Jorge Montesino (Disorder, Morbid Stench) alongside co-founders bassist Carlos Basagoitia and guitarist Rene Vega. Since forming, the band has had a few line-up shuffles amidst a handful of releases and splits; each increasing awareness of the band outside of their homeland. Now the San Salvador sextet exposes new ears to a trio of their original intrusions and one enjoyable cover upon Coalition of Death.

Their first track is Devotees of Death, an immediate fury of barbarous rhythms and scarring riffs bound in just as quickly gripping fiery grooves. It is an attention grabbing start which only increases its lure as the raw vocals of Montesino prey on ears, sound-tracked by increasingly tangy guitar enterprise. Bursts of technical potency break up the torrent of incessant aggression but only for swift flirtations so that the intensity and commanding persuasion of the track never waivers. It is a thunderous slab of thrash driven death malevolence inspiring a keen appetite for the band’s sound, a taste fed potently again by the following Hypocritical Sense of Ego. With the keys of Tulio Mata a more prominent inventive colour to the tsunami of sonic and rhythmic antagonism driven by the skilled swings of Iosif Najarro, the track is a more exploratory and fascinating proposal to its predecessor but lacks the fluency of attack which set the first apart.

Nevertheless the song only adds to an enjoyable first taste of Conceived by Hate, backed just as agreeably by the melodic and sonic tapestry of Embrace the Absurd. The track prowls and launches at the senses with a varied gait and an ever evolving intensity, again revealing more of the creative tenacity in the band’s sound along the way. Brutal rhythmic intent and unrelenting contagious grooving is at the heart of this and all the band’s endeavours, but keys spread a tantalising spicing to the tempest, never making an imposing or dramatic impression but always there colouring and lighting the darkest depths of the music along with the melodic expression of the guitars.

Closing their portion with an aggressively magnetic and enjoyably hellacious cover of the Dissection track Thorns of Crimson Death, Conceived By Hate provide an engrossing first half to

Akheron

Akheron

the release, a side more than matched by the thrash exploits of Bogotá hailing Akheron. Formed in 2003, the quartet of vocalist/guitarist Juan Guerra, guitarist Jonathan Jimenez, bassist Julie Gomez, and drummer Luis Galeano hit top gear straight away with Estigma. Within a few breaths it shows a dark and predatory thrash breeding but equally reveals strains of death and blackened intrigue and voracity. Grooves and hooks make an entangling web of temptation from the start, their bait supported by a turbulence rhythmic provocation which belies the skill of its hostility with its unbridled fury. The track is a tremendous start, the bass and vocal growls irresistible bad blood in the fierce tempest raging around them.

Chemtrail stalks the listener next, its atmosphere and nature gothic like, even as inventive turmoil erupts in a captivating and intimidating dance of scathing riffs and bone splintering beats. Grooves and acidic melodies only add to the spicy temptation whilst the bestial tone of the bass has ears and appetite aflame with its animalistic predation. Both their two songs make a lingering impression but the band hits another plateau with the outstanding In-conformista. Gliding in on a melodic tide of persuasion, the song soon embroils the listener in a web of unpredictable and enthralling sonic adventure. Rhythms again forge the darkest grizzled corners of the band’s invention whilst grooves and imagination provide the blaze of unexpected twists and explosive ambition.

The release is completed by Akheron giving the Misfits’ Where Eagles Dare an intoxicating makeover, keeping its virulent swing and addictiveness but twisting it into an insidious treat of addictive malevolence. It is a great end to a thoroughly satisfying and flavoursome release. Both bands impress, at times seriously seduce, and each shows they have plenty to reward a much broader and intensive examination from all.

Coalition of Death is available now via Morbid Skull Records

https://www.facebook.com/conceivedbyhate   https://www.facebook.com/pages/AKHERON/219232631435984

RingMaster 12/03/2015

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://reputationradio.yooco.org/

Foetal Juice & Human Landfill Split

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Picture the scene, you are lying naked on a cold floor, your entrails being clawed from your thrashing body as surrounding bones are ground into the merciless surface under you. Despite the assault all you can think about is the swinging hypnotic light accentuating the visceral portrait. That is what listening to UK extreme metallers Foetal Juice is like, a savaging violation of the senses equipped with a bewitching of contagious grooving and irritable hooks. Further proof comes in the new split release from Grindscene Records which lines up the Bury quartet with the equally mercilessly vicious and equally magnetic US band Human Landfill. Unleashing six tracks of grind and death metal inhospitality; the EP is a mouth-watering intrusion which just gets under the skin.

Since forming in 2005, Foetal Juice has been an increasingly potent and striking protagonist on the British extreme metal scene. An early demo was followed by their self-titled debut EP which certainly nudged attention their way, though it is fair to say that it was A Split Worse Than Death, which saw the band share its twenty one tracks with Basement Torture Killings, Decimation, Zombified, and Nailed, and certainly their Big Trouble in little Vagina EP, both in 2013, which sparked new intensive interest in the band. Live too the band has been earning an increasing reputation and acclaim, shows with the likes of Entombed, Wormrot, Exhumed, The Rotted, and tours with acts such as Desecration, Basement Torture Killings, and Zombified only pushing the band into broader spotlights. Now they have this new split to twist up British metal and listener’s psyche, which they do with devilish efficiency and craft.

Their first track is recent single Albert Grindstein, a gem of an incitement whose video upon its solo release gained 30,000 views in a handful of weeks. A sonic lure and beats keen to escape their leash make the first trespass of the ears, their bait swiftly ripped apart for vitriolic grooves and thunderous rhythms to descend ravenously on the senses. It is a gripping assault, the raw vocal squalls being driven by caustic venom whilst guitars cast an inescapable web of acidic grooves and predatory hooks. Behind the bloodlust there is that swing hinted at in the opening of this piece, its swagger as prevalent and persuasive as the individual textures which collude to exploit the listener’s weakest points. It is a treat of a track matched swiftly by Blue Waffle. In some ways this is an evil, more brutal scourge of sound and intent, but again it has that contagiousness which rich grind and death metal thrives on to express deeper and further reaching aspects. It is also more bestial in presence, a bear like smothering which voraciously barks rather than gutturally growls vocally, but devours wholly all the same.

The band’s final offering is Tumour Has It, and it is more of the corrosive same just in an individually appealing and intimidating guise. Grooves and twisted rhythmic assaults create the irresistible canvas over which vocals spill every fluid ounce of their rancor and hate. As the previous pair, the song is sheer creative spite and virulent temptation for any grind and extreme metal enthusiast.

There is much less to reveal about Ohio band Human Landfill as background, though they appear to be a duo consisting of guitarist/bassist Larry Brown and vocalist/drummer Shawn Slusarek, the latter also a member of death metallers Necrophagia. Again they bring death metal and grindcore into a flavoursome brawl, as evidenced on the split, before which a single and well-received debut EP, The Dead Are Not Silent has been tucked into their antagonistic belts.

   Acid Vat Descent is their opening play and instantly there is a raw intensity to their sound and song compared to that of Foetal Juice, you could almost say a sombre nature to its outpouring of malice. The song has a few strings to its violent bow though; darker grooves and a great scarring blend of vocals bringing the unpredictability and adventure always needed. The song seems to lose more inhibitions as it explores its addictive qualities and though the flame of a solo does not quite work for personal tastes and the fade out frustrates, the track is a great introduction to the band.

Their other pair of tempests similarly stirs up appetite and increasing enjoyment, Corpse Wine first providing a torrent of primal riffs and sonic acidity within an evolving gait of rhythmic predation. Whereas Foetal Juice’s tracks seem to instantly ignite the passions and hunger, Human Landfill takes a slower but persistently persuasive route to, certainly on the EP, breach the same kind of success. Their second song is a compelling offer but soon overshadowed by the outstanding Dirty Bomb Euthanization. All the hints of uniqueness and manic agitation in design and delivery found in the first two songs come to full life on their third, the track at times a tsunami of lethal beats roared on by vocal rapacity and in other moments a twisting temptation which bares all the wiles of a demonic temptress.

It is an impressive end to an excellent union of two of the world’s exciting emerging bands. Foetal Juice is a bit of a known prospect already to be fair and has only enhanced and pushed on again their thrilling presence whilst the relatively unknown Human Landfill, until now, have surprised and only highly impressed. So there we have it, another fine split all metal fans should explore.

The Foetal Juice & Human Landfill Split is available via Grindscene Records now @ http://grindscenerecords.bigcartel.com/product/foetal-juice-human-landfill-split-pre-order

https://www.facebook.com/FoetalJuice

RingMaster 05/03/2015

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://reputationradio.yooco.org/

 

 

Offal / Zombie Cookbook – Split 7” EP

 

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There is a certain individual sickness to the visceral charms of Brazil’s most prominent and inventive extreme metal bands, an insidiousness which seems to coat riffs, grooves, and indeed songs. That sickness is a creeping toxin flavouring the new split release from Offal and Zombie Cookbook too; a poisonous and malevolent offering which worms under the skin with infectious temptation. It is not a release which actually startles, not initially anyway, but over time emerges as a visceral sonic assassin to which imagination and emotions become playthings. A swift and lethal scourge of the senses from two bands which are potently emerging on the broader extreme metal scene, the 7” split comes courtesy of a label, Black Hole Productions, which is no stranger to unleashing underground treats from band such as Lymphatic Phlegm, Xxx Maniak, Haemorrhage, and Gruesome Stuff Relish.

Offal is first up on the release, a quartet from Curitiba consisting of vocalist André Luiz, guitarist Tersis Zonato, bassist João Carlos Ongaro, and drummer Igor Thomaz. To the release of their well-received self-titled debut album in 2006, the band has added a second full-length and a string of splits with bands such as Bowel Fetus, Anatomia, Decrepitaph, and Mausoleum, all helping to increase their reputation and stature in the underground. References to Autopsy and Carcass have been cast over their sound, and as opener Dementia Trash. The Cult Of The Low-budget Cin devours ears it is something to agree with yet only slightly flavours the band’s voracious sound. Riffs are an immediate scrub of aggression in the song, swiftly offal1-680x406backed by the thunderous and turbulent assault of rhythms. Lorded over by the dark coated cavernously toned growls of Luiz, the track is a mix of predacious stalking and rabid intent. It is a rather compelling proposition gaining greater strength of persuasion across its length, imposing sonically and in success as its narrative courts the craft and blood-fests of cinematic gore/cult b-movie movie pioneers like Herschell Gordon Lewis, Ed Wood, and Roger Corman.

A great incitement for ears and imagination, the band’s second proposal Spinal Extractions Fiend For Blood is a more savage and irritable, no make that violent encounter, and just as highly palatable even at its mere 45 seconds. It hangs around enough to get the teeth into and to ignite a healthy appetite but is too short to get as much satisfaction out of it as wished, though that want is soon fed impressively by Zombie Cookbook.

foto-para-pagina-BHP-680x451The band’s name and indeed that of its members, in vocalist Dr. Stink, guitarists Horace Bones and Ed The Dead, bassist Purgy, and drummer Dr Freudstein, alone provide colourful and mischievous bait, a lure instantly backed by their first track Motel Hell. There is thrash bred ferocity to the charge and hostility of the song, energy and creative adventure which is as psychotic as it is groove infectious. The vocals equally have a character and captivating rabidity to them which only ignites ears and enjoyment, bringing a chunk of the originality which revolves within an accomplished if familiar template of sound.

Its voracious appetite and body only gets more deviously addictive and magnetic over time, much as that of its successor Eredità Maledetta. The first of the band’s two songs ends on a great finale of pure unbridled thrash contagion, a sonic tirade plainly contrasted by the demonic seeded entrance of the second, though it does not take long for the track to expel a spiteful breath and leap into its own ravenous destructive tempest. It also is much shorter than its companion, but does offer two minutes of furious extreme metal combat to reinforce a greedy appetite as sparked by the EP to explore the band, something which applies to Offal also.

It is hard to suggest you will hear anything dramatically new on the split but with undeniably impressive songs both bands make invigorating additions to the full underground arena of extreme OFFAL & ZOMBIE COOKBOOK - Split 7-ep - CAPA PROMO ZCKmetal. Both Offal and Zombie Cookbook could be looking at infiltrating the broadest spotlights sometime soon too, especially if they continue uncaging beasts like those on their shared offering.

The 7” Split EP is available now via Black Hole Productions @ https://blackholeprods.bandcamp.com/album/split-7ep

http://www.offalgore.com/       http://www.zombiecookbook.com.br/

RingMaster 05/03/2015

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://reputationradio.yooco.org/

Whisper of Death – Noise of Obstinacy

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Noise of Obstinacy is an album which if you are in the mind to, you can pick at for its lack of real originality and at times over reliance of certain sounds and textures within its ten ravenous offerings, but at the end of the day the debut album from French metallers Whisper of Death is still one unrelenting buzz saw of enjoyment. Neck muscles and flagging energies are the testament to that. Accomplished and rigorously captivating with a seemingly Cannibal Corpse and Cryptopsy inspired death metal voracity with flavoursome extras, band and album leave ears and appetite gratefully satisfied and often excited.

Whisper Of Death hails from Ablis, a small village south of Yvelines and were soon drawing potent local attention after forming with their live presence which has seen them support the likes of Manimal, Leng Tch’e, Pitbulls in the Nursery, Black Bomb A, the Spirit of the Clan, and Betraying the Martyrs. The quintet released first demo Desossage in 2008, an introduction well-received by the band’s fans and underground. Its unleashing though was followed by a low key period for the band which saw a line-up change and one of its guitarist involved in a serious accident when he was hit by a car. It was unsurprisingly a slow time for the band but as soon as they were able to return to full strength, Whisper of Death released second demo Epilepsy in 2012, followed by the resumption of the band’s live attack. Last year was predominantly given to the creating and recording of Noise of Obstinacy at Studio Dark Wizard with François Ugarte (Pitbulls in the Nursery). Mixed and mastered by Alan Douches at West West Side Music (Nile, Mastodon), the album was uncaged towards the end of 2014, pushing Whisper of Death instantly towards a new attentive recognition.

     Cadaveric Discharge sets the ravaging off, emerging from a swarm of flies to grip ears and imagination with its artillery of lethal beats amidst a squall of savage guitars. It is a vicious Whisper Of Death - Artworkentrance but equally a magnetic one with a contagious swing lining emerging grooves and ferocious riffing. The vocals equally grab attention, a dual assault bringing variety to the malevolent delivery of venom soaked words and growls. With all songs sung in French and being linguistically challenged, lyrical adventures are unknown but there is no mistaking the rancor behind them. Turning more bestial with every second, the track is a formidable and pleasing start to the album backed right away by Cemetery Market.

Almost mischievously toying with ears with a quirky sonic flirtation, the second track needs little prompting to throw off the masquerade and show its malicious intent; ragged riffs and hostile rhythms colluding in one precisely honed provocation which is unafraid at times to uncage its darkest animosity and in other moments turn on expectations with striking and slightly warped invention. Across the album there are definitely certain twists and moments of ingenuity which break songs away from feeding assumptions and showing recognisable influences, maybe not enough to be honest, but as here when it occurs even in brief temptations, it turns songs and album into a very potent and potential fuelled proposition,

Both Desossage and Organ Bath pleasingly stir up air and senses, the first a blaze of raw antagonism with shot gun cocks and virulent scourges of tangy grooving making tasty additives to the infectious turbulence around them. The second has a slower gait, virtually lumbering along with low slung grooves and barbarous rhythms. There is still a ferocious intensity and energy to the encounter of course, just with a more pestilential intent rather than rabid instinct. Each hits the mark of enjoyment if not making startling impacts; something the following OBF has far more success with through its avalanche of rhythmic brutality and sonic toxicity. The track is a glorious truculence of sound and attitude, every swing of drum sticks leading to deranged bait whilst venomous grooves provide a sonic straight jacket twisting the psyche with their enterprise. With no lesser a devilish persuasion from the raw vocals and dark hearted bass rabidity, the track is the most adventurous and strikingly unpredictable on the album, and further reason to suspect Whisper of Death will emerge from the crowd if not now some point in the future with this kind of adventure.

Happy Burial whips up a blistering senses flailing storm next, not quite emulating the endeavour of the previous track but creating a bedlamic tempest to easily devour and enthuse about before Surgical Strike unloads its rhythmic torpedoes and sonic rapacity. Once again the track feeds the wants and matches levels already breached by the album but just does not go far enough to forge something truly remarkable. Nevertheless with a great agitation and psychotic mania to the changing assaults of the drums as the bass again finds the most salaciously dark lines to seduce with, the track has attention and pleasure tightly grasped.

Torture for Dummies bounces around like a serial killer waiting its moment to strike, a certain glee and excitement driving hooks and riffs as well as the catchy stride it initially offers. Of course this all plays out within a harsh landscape of sonic cruelty and toxic emotion which is just as bracing as the creative turmoil within it and helps turns Cannibalism Airlines into a visceral theatre of torrential spite and violently wanton rhythms. The track is another major highlight of the album, guitars and bass a flurry of intimidation and fury in their own right.

Battlefield brings the exhausting brutality to an end but not before creating its own peak in the album with a battering of flesh scarring beats, intrusively lingering grooves, and noxious vocals. It is the lighter caustic flirtations of imagination and psyche twisted endeavour which ignite the song predominantly though and ensures the album ends on a real high.

Noise of Obstinacy is as its title declares, a release doing its own things with zeal and defiance. It is not trying to reshape the walls and originality of death and extreme metal but increasingly it thrills and leaves emotions blissful, and I know which I prefer.

Noise of Obstinacy is available now digitally and on CD @ http://whisperod.bandcamp.com/

http://www.whisperofdeath.com/

RingMaster 28/02/2015

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://reputationradio.yooco.org/

Arbitrator – Indoctrination of Sacrilege

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If you speak to the right people there are always good, often great things said about any new and emerging band. The confirmation is always only in the music of course and just as often as words are proven, anticipation is left in unintended deceit. Arbitrator since the release of The Consummate Ascendancy EP in 2011 has been a band often talked up and recommended from certainly Canadian and North American sources. Their debut album Indoctrination of Sacrilege is our introduction to the quartet and all promise and suggestions of their growing might have been convincingly proven.

Indoctrination of Sacrilege is a beast of a release, an intensively atmospherically soaked death metal bred proposition which from making an impressive first impression grows into one striking and fascinating theatre of imagination. Fusing in textures and essences from electro and industrial climates to progressive and ambient flavouring, the six track release engulfs and stirs ears and thoughts with skilled and increasingly rewarding adventure. The band itself is the brainchild of Robert Kuklaand, its emergence starting in 2010 and announced by the release of The Consummate Ascendancy the following year. It was an acclaimed proposal from the band but just a tester in many ways for the exploratory might of Indoctrination of Sacrilege. With a line-up of Myles Malloy (lead guitar), Connor ORT Linning (programming), and Soilwork drummer Dirk Verbeuren (ex-Devin Townsend Project, ex-Aborted) alongside Kuklaand (rhythm guitar, bass, vocals), Arbitrator put themselves forward now as one of the more intriguing and exciting progressive death metal prospects. They also still feel like they are still only just scratching the first few layers of their potential despite the weight and success of their album, a potential and prospect of even greater things ahead quite exciting.

The Sacha Laskow (ex-Divinity, Every Hour Kills) produced and Jens Bogren (Opeth, Katatonia, Amon Amarth, Arch Enemy) mastered album, swiftly has the imagination engaged as the entrance of opener They Will Worship This Fire of Agony comes through scenery of portentous bells and death feasting flies as church seeded chants seemingly offering final guidance as a dark pestilential cloud looms nearer and nearer. That sonic threat is realised a muscular wall of riffs and punchy rhythms veined by enchanting keys. It is an immediately incendiary and compelling persuasion enhanced by the guttural growls of Kuklaand and spicy persistent grooves. Samples are soon briefly mingling with the cavernous presence and intimidation of the song too but it is the infectious hooks and melodic winery which most captivates against the evolving and enlarging drama of the keys. It is an imposing and enthralling encounter, and as the album subsequently shows itself to be, a pleasingly unpredictable one.

The potent start to the album is solidly continued by Stillborn Bastard of The Nazarene, it straight away binding the appetite with intensive riffs and rhythmic swings whilst thoughts are provoked by its atmospheric colouring. Kuklaand again impresses as he binds words and syllables with a gripping impassioned tenacity which provides additional potent focal points amidst many on release and track. Samples and keys again paint additional inciting scenes in the ferocious and threatening landscape of the song, though it is the superb melodic enterprise of Malloy which steals more of the glory.

Through each song the album just gets better and creatively bigger, the next up For That Which May Appease Lions unleashing black hearted rock ‘n’ roll in a hellacious offering of grooved and addictive contagion aligned to corrosive and oppressive malevolence. The track transfixes from its first moments, the predatory nature and sound of the bass a delicious stalking within the maelstrom of rancor whilst clean vocals add a different shade of temptation to the voracious soundscape. Keys and guitar endeavour similarly vein the tempest with their own unique and engrossing narratives, everything seamlessly flowing and combining together to enslave ears and imagination. Unpredictability is rife across the track, and reveals more twists and subtle ideation with every listen, an exciting trait just as potent in Serpent of The Styx. The song’s electronic opening is a melodic drift of keys and radiant melodies yet it all comes with a solemn and melancholic charm courted by a slowly brewing dark side. An eruption of that heavy menace is eventually unleashed yet the song still continues to radiate melodic expression within a web of carnivorous grooves and enjoyably volatile rhythms. There is also a cinematic ambience to the track, its ‘warmer’ and calmer moments apocalyptic in suggestion as the track’s muscular and rabid side trespasses and challenges the senses. As its predecessor, the track is a mouth-watering incitement which just gets more addictive and anthemic with every passing minute, hook, and barbarous swing from Verbeuren.

       Profaned and Perfected whilst not quite matching the heights of the previous two tracks, has its own persuasive agenda of spiny grooves and spiky beats to contemplate, and an anthemic swing to drool profusely over. It is an out and out death metal ravishment but also one unafraid to explore warmer climes through the often spellbinding invention of the industrial spiced keys and climactic guitar. The song is still a bruising and commanding predator keeping body and emotions invigorated and fearful before the ‘epilogue’ like instrumental adventure of The Burning Sands of His Kingdom brings the album to a fine close. The electronically driven piece draws a cold and stark wasteland yet equally suggests hope with its melodically epic and intimately expressive tones within rugged scenery.

Over a handful of listens in and there is still more revelations coming forward within songs as Indoctrination of Sacrilege continues to reward, that in itself a strong reason with the diversity of sound and invention to check the album out. Wrapped in the excellent artwork of Colin Marks (Exodus, Scar Symmetry, Jeff Loomis), the release has been suggested for fans of Bloodbath, Dismember, and The Project Hate but also it is easy to suggest that those with a taste for bands such as Opeth, Mercyful Fate, and Escapethecult could do far worse than taking a plunge into Arbitrator and their first album.

Indoctrination of Sacrilege is available from February 13th @ http://arbitratorofficial.bandcamp.com/album/indoctrination-of-sacrilege

https://www.facebook.com/Arbitratorband

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Gorelust – We are the Undead

w_Gorelus

It is fair to say that there has been a feverish and increasingly growing appetite for Canadian death metallers Gorelust since they disbanded in 1996, a hunger and attention as new genre fans discovered and devoured the band’s one and only album Reign Of Lunacy which was released the previous year. The acclaimed encounter became a hard to get, desperate to have proposition; that, fan clamour, and no doubt a personal passion for the band in PRC Music owner Rémi Côté leading to a long awaited re-release at the end of 2012 with the label. Now twenty years after their debut’s original release, Gorelust return with its successor and it is as if the band has never been away.

Feeling as if it comes from a time only moments after its predecessor but offering a fresh and modern brutality, We are the Undead is a ravenous beast of a proposal. Consisting of songs written before the band came to an end alongside new offerings, the album is old school death metal at its invigorating predatory best; arguably not loaded with major surprises but still sheds plenty of shadow over similar genre driven releases from younger and newer bands. When there is skilled craft and creative hunger inherent in a band it does not go away with time, the evidence right here in the cold embrace of We are the Undead.

With four of the five which released Reign Of Lunacy back on board, the Québec quartet open up We are the Undead with Lunacy Still Prevails…. It is a scene setting intro primarily, but a viscerally haunting coaxing with a threatening atmosphere and textures drawing ears and imagination into the raw turbulence of the following Rape the Rapist. The drums of Francis Marmen are an immediate flurry of intimidation and brutality, their threat matched by the throaty tones of Pascal Chevrier’s bass and the still distinctive and recognisable guttural roars of Jean Beaulieu. It is a thick and ferocious combination bound in the coarse riffery and sonic enterprise of guitarist Martin Fournier, it all uniting for a nostalgic come modern fury.

The imposingly solid start to the album is pushed on again by Entering the Kill Fest, its initial tenderising of the senses a tasty appetiser for the striding stalking of riffs and rhythms which take rein of the track soon after. There is a swing to the grooves and in less open declaration the delivery of Beaulieu, whilst the sonic invention of the guitar is a searing captivation. Mostly though, the track is pure anthemic temptation, a gripping persuasion emulated in the contagion of There Is No God. The song mixes its gait with fierce charges and more intensively threatening saunters accosting the senses, that alone inescapable bait though it is the primal growls of Beaulieu which put the tang in the poison, especially in the closing seconds where surely his throat lining was torn to shreds.

The album’s title track steps up next providing vicious smog of malevolence and musical savagery, as well as one of the loftier peaks within We are the Undead. Like a hell bred hound with a glint in its eye before ripping out its victim’s throat, the track sizes up and devours ears and psyche with addictive rhythmic bait and a torrent of unpredictable and swiftly changing riffery. It is a fascinating and blistering incitement, vocals and guitar ideation both an enthralling and flavoursome colour to the primal trespass of the listener.

The pair of Penetrating the Weak and City of the Cannibals keep this new plateau firmly prowled by the album; the first offering a rapacious and tenaciously attentive examination of the senses. Once more hell for leather onslaughts are fluidly led in to slower intrusive crawls and just as seamlessly out again. Every second of the track is a descent into the bowels of emotional corrosion and aural violation. Its successor has a more tempestuous almost bedlamic nature and enterprise to its body. Marmen as everywhere batters and bludgeons the senses with tremendous spite and inventive craft whilst musically the song is a maelstrom of sound which never settles in one thought for long. This ensures intrigue and pleasure is high and expectations left empty apart from being swamped by an old school sound which heavily satisfies every constant want from a death metal tempest.

Decapitate the Holy Whore and Farewell to the Flesh both have ears and appetite licking lips again. The first of the two is another delicious stalking with riffs and grooves as infectious and venomously bullying as the deep caustic scowls of Beaulieu and the rugged and salacious tempting and swings of Chevrier and Marmen respectively. Farewell to the Flesh is similarly sculpted in its template but soon spinning a web of sonic enticement and alluring colour through Fournier’s adventure and arguably the most compelling and tasty bassline on the album. Another pinnacle of the excellent release, it again has a more chaotic potency to its design and intent, and maybe it is telling that the very best songs on the album are those with this looseness and slightly experimental character.

We Are the Undead is completed by the hellacious Wretched Life, a final tsunami of death metal voracity to bruise ears and ignite the emotions. It is simply a fine end to an excellent encounter. As suggested earlier, Gorelust and We Are the Undead are not rewriting death metal or really challenging its boundaries, but without doubt both are giving it a thoroughly enjoyable treat.

We Are the Undead is available now via PRC Music @ www.prcmusic.com/store/index.php?route=product/product&product_id=1249

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RingMaster 12/10/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today