Vulcano – Wholly Wicked

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Considered the first Brazilian extreme metal band, and by others the first South American one, Vulcano has earned their legendary stature on much more than that alone. Their ferocious mix of thrash and death metal embracing plenty of old school heavy metal essences, has ensured the band has been a constantly and eagerly devoured protagonist across eight variously successful and generally acclaimed albums since forming in 1981. Now they unleash their ninth full-length in the blistering shape of Wholly Wicked, a rampant unrelenting blaze of contagious aggression which predominantly feeds expectations but not as wholesomely as it breeds total enjoyment. The album puts skilled and anthemically voracious rock ‘n’ roll before originality, and in doing so provides a metal rampage hard to get enough of.

As mentioned Vulcano began in the early part of the eighties, and from their first single Om Pushne Namah, the band was luring potent attention and support. A demo and live album followed before Bloody Vengeance in 1986 began awakening even richer responses and awareness, the release tagged as Brazil’s first black metal album. The next three years saw a trio of albums uncaged before the band underwent a quiet period following a series of band problems and tragedies. They returned to action in 2003 with fifth studio album Tales from the Black Book released the following year. A split with Nifelheim followed in 2006 whilst their next album Five Skulls and One Chalice arrived three years later, a period leading to Vulcano hitting Europe with their live presence for the first time. Plenty of line-up shuffles have spiced up the band, as has another two albums, a live full-length, and another split EP on a growing recognition and acclaim of their music, retrospective and current. Now the quartet of last remaining band founder and guitarist Zhema Rodero, vocalist Luiz Carlos Louzada, bassist Ivan The Darkestt, and drummer Arthur Von Barbarian have expelled Wholly Wicked on the world. Like so many also not fully aware of the band’s earlier work, it is hard for us to say how the album stands up to what has come before, but on the modern landscape of thrash/death incitement, it is one maybe unremarkable but seriously exhilarating proposition.

VOLCANO_Whollywcked_300x300     With a low key release last year via Renegados Records, Wholly Wicked is getting its deserved global spotlight through PRC Music and goes straight for the jugular with opener The Tenth Writing. Riffs and rhythms instantly savage ears whilst hooks and mini grooves grip attention and appetite before the song bursts into a furious ear nagging charge. Guitars and bass provide a hungry web of provocation and enticing, the former also adding flirtatious shards of melodic intrigue and imaginative twists as the excellent vocals spew grouchy aggression. With the drums punching the heck out of it all, the track is a storming tempestuous start, not forgetting irresistible one, which swiftly matched in potency and attraction by Pentagram. A glam metal tinged start looms up on ears first, twisting on arrival into a barbarous and addictively compelling tempest of aggravated riffery and spicy sonic revelry, matched in spite by the rhythms. As suggested there is little brand new to mull over in the album and this song, but there is no escaping the imaginative and riveting weave the recognisable aspects are creatively woven into as once more little unpredictable twists and fluid changes in gait impress.

Both Daughters of Pagan Rituals and Infusion of Hatred keep ears and satisfaction ablaze, the first as virulently alluring as it is bracingly intensive. Every hellacious beat, torrent of antagonistic riffing, and tangy groove is incendiary to feet, neck muscles, and enjoyment. The track is irresistible, extreme metal hitting the sweet spot, here to not forge new boundaries but turn what exists into a blur of anthemic devilry with accompanying glory. Its successor reins in the undiluted attack of the previous song but emulates its raw and imposing hostility with a battery of brutal beats and carnivorous riffs bound in squirming sonic enterprise. The track is brief and unfussy, lacking creative glamour and pure addiction for ears.

There are some similarities between a few songs on the album, the niggling riffing of The Return of a Long Night already exposed and coloured well on Wholly Wicked yet entangled in fresh vitriolic and inventive exploits through subsequent songs, basking in the craft and maturity of its creators so it is never anything more than a passing thought as attention and appetite closes in on the next captivating proposal. Thirst for Vengeance offers familiar hues but from its initial groove alone, the song flirts with best of honours whilst growing diversity through things like magnetic throaty bass bait and greatly flavoursome vocals only pushes the excellent encounter into being a firm favourite on the album. For these ears, the best thrash is healthily punk, and the most gripping death, thrash seeded in its heart and this song has it all.

The crawling entrance of the album’s title track offers a new twist next, though it cannot contain the need to decimate ears and senses and is soon an insatiable and frequently twisting onslaught rich in classic metal enterprise and rabid anthemic war cries. By this point in the album, the body is already breathless but it gives no respite as first Tormented careers through ears and stomps all over the senses in infectious primal fashion followed by the even heavier barbarous savaging offered by Malevolent Mind. Each of the pair simply inflames thoughts and emotions, their essences of familiarity and unsurprising natures only adding to the thrills.

The album closes with the anthemic and hostile rampancy of Blowing Death, a mighty carnivorous end to one non-stop explosive ride. Wholly Wicked is like a roller coaster, thrill ridden and devilishly exhausting. Like such rides you also know what you are going to get but it does not stop the enjoyment and hunger for more growing with every trip. It might not be bursting with originality but Vulcano have provided one start to finish favourite.

Wholly Wicked is available now on CD via PRC Music @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1314

http://www.vulcanometal.com/   https://www.facebook.com/VULCANOMETAL

RingMaster 07/05/2015

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.n

 

Castrator – No Victim

photo by Jorge Riaño

photo by Jorge Riaño

It is fair to say that the focus of plenty of the carnage and brutality cast by extreme metal songs protagonists are women; ‘weak’ dispensable victims to suffer and be abused as a theme. But now they have a voice and a just as lethal instigator to lead an uprising in the shape of death metallers Castrator, a band turning the tables and dishing out their own unrelenting revenge and creative ruin. The band consists of five pissed-off ladies, but each is also a skilled musician creating a voracious sound and in the shape of the No Victim EP, a debut release to match.

NYC based Castrator is made up of an international and prolific musicians hailing from Colombia, Florida, Mexico, Massachusetts, and Norway. Identities and background are scarce to be honest but the line-up of the band is vocalist M.S., lead guitarist/vocalist P. Serrano, rhythm guitarist M.D. Åkesson, bassist Robin Mazen, and drummer C. Perez. Their sound is sheer death metal ravishment which has led to references to Cannibal Corpse, Cerebral Bore, Dying Fetus, Incantation, Obituary and the likes coming their way. They expel an emasculating extreme brutality which certainly on No Victim rages lyrically, sonically, and emotionally on the listener like a primal tsunami.

frontcover     The first intensive examination comes with Honor Killing, a fury of ravenous riffs and excruciating rhythms from its first breath. There is no escaping its ferocious and rabid onslaught, or the melodic enterprise which subsequently veins the tirade of viciousness. The song also has a core swing to its tempest which is as contagious as the predatory riffery driving the incitement, whilst vocally the venomous deliveries have an intensity and uncompromising expression which instils even greater hostility in every syllable spilled. It is fair to say that the band is not worrying the outskirts of originality with the song but it barely matters in the thrilling abusing of ears and igniting of pleasure.

The following Brood has an even heavier destructive breath to its raging, every riff seeming more rabid and rhythm malevolent than the one before, a potency matched by the guttural vocal confrontations. Featuring a guest solo from Immolation guitarist Robert Vigna, the track grows in stature and dark devilry with every minute of every listen, bass imagination and guitar grooves especially flavoursome with their toxic endeavours.

The Emasculator opens on a sample from the film Hostel 2, male destruction the fuse to an unbridled and corrosive sonic devastation of the senses. Hooks and grooves again add inviting spices to the wall of rabid maliciousness but it is an avalanche of sound and rancor unafraid to twist and turn with unpredictable ideation and at times doom bred enmity. It is an outstanding track quickly matched by the EPs title track, itself a cancerous trespass of sound entangled in wiry grooves and blistering sonic spite aligned to a rhythmic tirade and discordance. As its predecessor, the track is a web of at times understated imagination, little turns and sparks of invention swallowed by the onrush of sonic and rhythmic violence but bold enough to still reveal their qualities.

The final two songs offer the strongest uniqueness upon the EP, and all leave appetite and bruised senses hungry for more. ‘Hell hath no fury like a woman scorned’ the saying goes, and now armed with the craft and attitude of Castrator, the worm has turned within extreme metal with exciting results.

The No Victim EP is available on CD now via Horror Pain Gore Death Productions @ http://www.horrorpaingoredeath.com/store/hpgd109.html and digitally @ https://castrator.bandcamp.com/album/no-victim-ep

https://www.facebook.com/CastratorBand

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

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Erik Dismembered – Darkness Within EP

 

artwork by Robert Mallinson,

artwork made by Robert Mallinson,

 

As much as music should entertain and excite, it should also challenge. Whether it is physically or emotionally, the most thrilling and impacting encounters have been those which leave lingering imprints on thoughts and feelings whilst taking the listener to places they probably do not want to go. One such incitement is the Darkness Within EP from Erik Dismembered, an exploration of inner demons and external provocations breeding the merciless depths of its title. It is also a masterful weave of sound and imagination, a testing some will embrace, others fearfully flee, but all will be left locked in thought and self-awareness.

Erik Dismembered is the solo project of Arizona musician Erik Martin, better known to date as part of death metal duo Critical Dismemberment and the extreme-metal/industrial pairing of Skin Drone. His own project is a unique exploration compared to those bands though there is the same hunger to push and challenge not only the listener but his own creative limits. Erik Dismembered pulls on a vast array of flavours and textures, some familiar as in his other bands, but predominantly they are unexpected essences and styles woven one startling creative experiment.

Lyrically and emotionally each track within Darkness Within plays like stark slithers of insight into a bigger darker picture; themes such as addiction, love, hate, anxiety, and depression combining to create not exactly psychotic but certainly turbulent protagonist(s) explored by the release. How personal to Erik the premise and experiences within tracks are only he can tell but there is an intimacy which is shared by creator and recipient that hits hard, openly, and truthfully.

The EP opens with A Deal with the Devil, a track also featuring Critical Dismemberment band mate Chase Fincher. A guttural roar opens things up, swiftly accompanied by a gentle electro beckoning. The returning raw vocals keeps that initial edge and intimidation blazing as guitars add their sonic tempting to an increasingly tempestuous ambience. Industrial and metal essences entangle within the growing magnetic landscape whilst electronic flirtation bubbles vivaciously across their dark web. There is an agitation to it all also, the lighter and shadowed elements showing an emotional unease which especially coats the lyrical persuasion and erupts forcibly in the outstanding Anxiety.

A melodic electronic shimmer make the initial coaxing, it’s haunted breath the invitation to incessant beats and the whispered anxiousness of Martin to engage the imagination. Scything strokes of guitar aligned to heavier vocal tones erupt soon after, pungent beats adding more sinew to their potency before keys burst into a blaze of harsh electro/industrial tempting with a feel of God Destruction and Bestias De Asalto to it. As Martin shuffles thoughts and options in the lyrical incitement, the earlier dark calm returns before again it all build to an unstoppable emotional crescendo and raw physical expulsion. The feeling of entrapment within feelings and external/internal pressure is superbly exposed by the song, almost leaving the listener also struggling to breathe through solicitude in its wake.

Diamond Eyes floats in next, acoustic guitar accompanying a vocal caress to mesmerise ears before evocative strings and piano seduce with their orchestral elegance. The vocal romance has its own shadows; an undefined dark hue which lies enthrallingly within the poetic charm of the song, keeping thoughts intrigued and busy before the EP’s title track takes over and immediately lays down a colder, starker scenario. Black depths expel their fears in voice and sound, grasping at shards of piano spawned light, clinging to it with hope but swallowed by the festering shadows clawing at psyche and emotions. There is no escaping the power and intensity of words and tone, and again you wonder if only those with intimate experience can achieve this potency in their music.

Most tracks stop with abruptness, their space instantly taken over by its successor and where that feeling of songs being glimpses, parts of a larger almost unstable picture emerges. Darkness Within is an example its sudden end quickly the unrelated start of Desecration of a Corpse, itself a caustic roar of industrial and corrosive magnetism. Melodies float as sonic ferocity sizzles and tempestuous vocals spread raw angst across a discordant electronic shuffle. It is transfixing, a mesmeric and uncomfortable consumption of ears and thoughts in sound and words which only leaves a fierce appetite for more.

The EP closes with the haunting Weary Hearts, a tender emotional kiss on the senses which in some ways is the most disturbing song on the release such its immersive strength and ghostly reflections. It makes for a riveting end to an outstanding encounter, a release which takes on an exploration which is unafraid to bare its darkest corners and soiled emotions, but are you brave enough to join it is the question?

The Darkness Within EP is available now as a free download @ http://bluntfacerecords.com/erik-dismembered-music

http://www.erikdismemberedmusic.com/   https://www.facebook.com/erikdismemberedmusic

RingMaster 06/05/2015

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

Cemetery Dust – To rule them all

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They might have two well-received and praised albums under their belt, but Austrian metallers Cemetery Dust is probably still an unknown property in the main thrust of the metal scene. That might and should be about to change with the release of To rule them all. The band’s third album is an antagonistic and compelling maelstrom of old school thrash and death metal which is also equipped with the contagious grooving of modern metal. It is a roar of old and new, an encounter familiar yet simultaneously fresh, and though it might not take its creators to the top table of the global metal scene it will forcibly slap the face of widespread attention.

Hailing from Braunau am Inn, Cemetery Dust began in 2005 and quickly stirred up strong local support. Debut album Power of the Hypocrite was unleashed in 2008 and with its persuasive blend of metal furies set the basis for the band’s sound as their presence began to spread. Its successor An Anatomy of War followed in 2012 and showed another creative and aural leap in the band’s creativity, a step emulated again in To rule them all with even greater maturity in songwriting and craft. Released via Metal Music Austria, it is a furious and intimidating proposition yet every assault and incitement posing as a song is veined by a seductive and unpredictable lure.

The album opens with the mesmeric calm and beauty of Proelium Elementorum, an instrumental track which transfixes ears and imagination without giving any hint of the onslaught to come. It has no portentous air or intimidation to it of any kind, just a weave of elegant guitar play and melodic temptation. In many ways it is at odds with what follows as even the calm before the storm has essences of turbulence in its air but here the alluring opener just seduces before being pushed aside by the tempestuous might of Souls Come Undone. Riffs and rhythms are an instant ravaging of ears ridden by the equally caustic and hostile tones of Philipp Forster. There is no escape from its intensity and raging but it comes with a great tempering of guitar enterprise from Forster and Christoph Steinlechner, grooves and sonic flames a rich and incendiary spilling invention and infectiousness. The merciless attack of drummer Rupert Sonnleitner equally has catchiness to its trespass on the senses, though everything ultimately ignites as one hellacious tempting.

a2428907815_10     The following Bleed for the Machine is the same, uncompromising in its thrash bred riffery and death seeded sonic malevolence but irresistible in grooves and unpredictability. The bass of Benjamin Jensen snarls and groans wonderfully within the song, its presence as bestial as it is magnetically varied, whilst the guitars flirt and scorch ears with their own imaginative designs. The track is fascinating, the first of the most inventive and creatively diverse offerings on the release before seeping into samples of ‘apocalyptic’ news reports which in turn lead into the might of The Great Isolation. The fourth song on To rule them all, with an agitated opening and inviting shuffle, draws on a hardcore squalling of voice and sound before infusing it into another fierce thrash spawned provocation. As suggested earlier, there is a familiarity which comes with certain moments and songs, not always exactly definable but recognisable within styles, but as here it is potently honed into something new and inventive. Once more Forster and Steinlechner have ears and thoughts riveted with their simple riffs driven ravaging but more so through strands of sonic ingenuity. Hooks seduce and grooves bind but the whole melodic enterprise from their imagination is what borders on sonic poetry.

     Tiger, Dragon and Snake is a stalking beast from its first breath, swiftly turning its prowl into a senses scavenging hostility disguised with toxic grooves and heavily swinging rhythms whilst Cloak of Blood next, and in deed the following The Blind King, show themselves to be even more severe predators. The first of this pair is especially inescapable, every riff and beat an intrusive beckoning over which coarse vocals scowl and guitars dangle addiction forging incitements, some with a classic metal spicing. Its successor is equally as adept in enthralling ears and thoughts with an evolving tirade of inventive bait, though demanding a more intensive attention than its infection spewing predecessor.

The hefty offerings of Monument of Hate and its title track brings To rule them all to an impressive close. The first of the two spins a fearsome and engaging web around Jensen’s menacingly alluring basslines, creating a canvas of exotic and corrosive predation in sound and intensity. As all songs there is constantly shifting scenery to the landscape; a seamless and masterful shifting which is never less than aggressively savage. The final song is more of the same in design and character whilst carrying its own distinct guise, though there are moments across the album where tracks do have a similar presence if not ever enough to disturb the potency and impressiveness of the release.

It is hard to imagine Cemetery Dust being an unknown quantity from hereon in because of To rule them all alone. It is a release to awaken new spotlights on and appetites for the band’s invigorating sound and its blazing adventure, one all extreme metal fans should make themselves aware of at the very least..

To rule them all is available now via Metal Music Austria digitally and on CD @ http://metalmusicaustria.bandcamp.com/album/to-rule-them-all

https://www.facebook.com/cemeterydust/

RingMaster 30/04/2015

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

Ignotum – Larvas Mortal God

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Linking up with the Ronin Agency not so long ago, Italian black/death metallers Ignotum recently released debut album Larvas Mortal God and from a strong first impression, it is a release which grabs the imagination to impress more and more with every listen. On the surface the album is an enjoyable and accomplished proposition but it is with time that is reveals its own unique character of sound and creative textures to stand out from the crowd. Whether it will emerge as a major favourite is to be seen but already the album is a temptation enticing us back again and again.

The Como band was formed in 2011 by guitarist Fabio Guereschi and seemingly made swift and strong impressions on the local scene, widening that awareness and support with the release of a well-received self-titled EP in 2013. Recorded and released as last year closed its eyes, Larvas Mortal God is the first major nudge on the strongest spotlights from the band, and one easy to see making Ignotum a wider known and thought of incitement in the extreme metal scene.

The release starts with Through Madness Reminiscience and instantly is a sonic tirade on the senses, riffs and rhythms a merciless torrent but with that hostility tempered by spirally and instantly alluring grooves. The raw and coarsely expressive vocal squalls of Marco Capuzzo lay aggressively on ears but with just enough variety to make them adventurous and as magnetic as the tempestuous sounds brewing around him whilst the driving and evolving guitar enterprise of Guereschi and Luca Borghesi (no longer with the band), spins a captivating web matched by the formidable rhythmic collusion of bassist Stefano Zarantonello and drummer Federico Mascetti. As mentioned about the album, the song makes an appealing first touch on ears straight away but it is with time and attention that the nuances and at times less vocal invention reveals itself for greater reaction and pleasure.

COVER   The potent start continues with Soul’s Self Mutilation. Its atmospheric synth crafted opening is a stark contrast to the roar of its predecessor but it too it soon raging with aggression and passion. The repetitive nature of grooves and rhythms entice from within the sonic intensity swirling venomously around the landscape of the track, whilst again melodies and colourful creative hooks bring a refreshing and sparkling hue to the imposing storm. It is an inventive blend fuelling all the songs upon Larvas Mortal God but apart from at times a surface familiarity flowing over the release, it never smothers the individual definition and character of tracks like the following Inhale The Void and in turn The Circles’ Kiss. The first of the two immerses the senses in a blackened trespass and though it lacks the spark of its predecessors, imagination and craft ensures it is an evocative encounter before its successor uncages its own oppressive canvas of almost portentous sound and vocal snarling. It is the physical and emotive voracity which is missing in the first of the pair but back stoking the raging fire of the second and seemingly sparking greater toxicity in the sinew swung rhythms and scorching grooves veining the song.

Mary L. equally confronts the senses with a fiercer almost corrosive persuasion, one soaked in acidic sonic endeavour and provocative melodies. The song merges hostile and seductive scenery with a fluid and captivating prowess, flowing from one to the other and back again with ears enthralled. Despite its mighty offering though it is soon over shadowed by the outstanding Abyss, You Shine. The opening tangle of melodies and grooves around a contagious rhythmic tempting is enough to spark new hunger in the appetite. Again the band twist raw aggressive dexterity and intensity with mellow and entrancing seductions, one never overpowering the other and always creating a seamless passage of fascination and thorough enjoyment.

The album’s pinnacle is followed firstly by the more rabid but controlled turbulence and emotive mania of In Skinless Dream and then the atmospherically fiery and raucously trespassing Hecatomb Memories. The second of the pair is arguably the lightest on the album with an open progressive infectiousness which almost demands to be liked. Not quite carrying a poppy texture in its make-up but certainly, despite an increasing rhythmic and vocal ferocity to its climax, there is something more easily accessible to the track than in those before. Both songs ignite ears and thoughts masterfully before the closing Clown With Crown ensures the album leaves on another unhealthy and appealing slab of aural savagery and sonic venom, which you may not be blown away by but certainly will easily develop an increasing urge to explore more of, just as the album.

Produced by Luca Briccola, Larvas Mortal God is an impressive proper introduction to Ignotum, not a release to set a fire burning but easily potent enough to put the band on the map and given time to become a constant lure for repeat attention.

Larvas Mortal God is available now via Mentalchemy Records from most online stores

http://www.ignotum.it/   https://www.facebook.com/IgnotumItaly

RingMaster 12/04/2015

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/

 

 

 

 

Éohum – Revelations, Aurora of An Epoch

 

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The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch

https://www.facebook.com/pages/Éohum/821823887910583

RingMaster 09/04/2015

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/

Killer Refrigerator – The Fridge and the Power it Holds

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We all know that technology is taking us over, but an on-going war between it and man, well easy to have doubts there. That was until this computer began deciding alone when it was going to connect to the internet and my iPod began mashing up songs randomly like a manic DJ to mess with the psyche. Of course if we had all listened to Killer Refrigerator previously battle plans would be drawn up and war cries in place. Thankfully they have returned with second release The Fridge and the Power it Holds at the right time, to awaken all and help turn the conflict back into the hands of humanity.

From Ohio, Killer Refrigerator is the side-project of Cody Coon, the guitarist/vocalist of death thrashers UnKured. Recognising man’s slavery to iPhones, toasters, blenders, every appliance imaginable; a dependency seeded from the aftermath of surviving an attempt to wipe out humanity a Millennia ago by the omniscient refrigerator Lord Freezus Christ ( You may laugh but think about the panic and fever which breaks out when you lose your phone), Cody and Luke “Java” Sackenheim decided to rebel against the appliances in 2014 and formed Killer Refrigerator, releasing debut album When Fridges Rule This World as their first assault and warning soon after.

Drawing on cult movies such as Microwave Massacre, Terrorvision, and Basket Case alongside their belief that appliances want to destroy the world, the band create a bedlam of sound and psychological ferocity from a vicious tangling of every extreme flavour that they can conjure, with much more besides. The Fridge and the Power it Holds EP provides seven tracks of almost indescribable but thoroughly thrilling confrontation, and sets up the battle front perfectly for upcoming second album Refrigeration Plague.

TFATPIT_OPTIMIZED     For all the theatre behind the intent and creativity of the band, Killer Refrigerator has a skilled and inventive sound which if you can ride its unpredictable tsunami, blows ears and imagination away, with the passions in quick succession. Straight away The Fridge and the Power It Holds is rich evidence as opener Terrorvision erupts into life with a web of sonic enterprise sculpted by guitars. A muscular and skittish rhythmic accompaniment adds to the initial coaxing before it all colludes with a dark bassline and a salacious mix of senses scorching vocals for a hellacious punk lined ferocity. Not reaching a minute and a half in length, it is a searing and striking start swiftly over shadowed by the excellent Slaystation. Predatory in its first breath, almost sizing up the listener as it dangles a discord kissed bassline and sonic lures from its rhythmic spine, the track is soon driving for the jugular on a tide of thrash bred riffery and ruinous vocal incitement. Squirming around this, acidic flavoured melodies and progressive nurtured endeavour fascinates, leading ears towards an unexpected Nintendo-core interlude before exploding again into the creative and rasping sonic fury the track started with. As mentioned previously, the band’s sound is an unrelenting and evolving maelstrom defying real description but with avant-garde and mathcore tendencies as prevalent as death and grind endeavours, it is a one compelling and intoxicating assault, deranged manna for the imagination.

Shower Thrashing Death toys with folk metal influences before turning into a carnivorous rampage of thrash/death seeded lavatorial rampage announcing the coming of the “toilet gods”. The bass simply seduces within the grimy scenery whilst vocals announce the demise of all with an outstanding mix of vocal deliveries which range from hardcore angst, grind squalls, to Patton-esque crooning. One of the pinnacles of the release it is matched by Killer Refrigerator VS Godzilla, the big fight off between two merciless goliaths. The track stomps with heavyweight rhythmic feet and fiery climactic endeavour, guitars scything across the battleground with sonic rapacity whilst vocal war cries breed a warped anthemic support.

The insidiously enthralling Slave To The Easy-Bake comes next, a scourge of sonic grooving and melodic flaming spun around a simple but gripping bassline. Of course this does not tell the whole deranged psychotic story of the song, every aspect from vocals to guitars, beats to imagination a distorted intrusion to fear or greedily devour.

The EP’s title track steps up next and after battering the listener senseless through pummelling beats, goes on a brutal and feverish march of searing grooves and scarring riffery. It holds back at one point to intensify its weight and drama, before regaining momentum but with an even more destructive and imposing trespass of the psyche. Deathcore, thrash, mathcore, and psyche rock are all in there running amok with the ideation and raw adventure of the band, the outcome another mouth-watering violation.

   The Fridge And The Power It Holds closes with bonus track To Hell With Cancer, one of the most grouchy siren-esque enticements you are likely to hear this year. Ravaging air and ears around a funk bred devilry, the track is a carnival for the mosh pit and a thrilling, uncompromising call to arms.

Lyrically and musically The Fridge And The Power It Holds is so much fun but equally a serious slam of extreme incitement which might have a theme bred from a truth stretched to cultish proportions, but delivers it as a unique and irresistible tempest. It is probably not going to work for all but if it does click an explosive thrilling time is guaranteed.

The Fridge And The Power It Holds EP is available as a name your price download from April 7th @ https://killerfridge.bandcamp.com/album/the-fridge-and-the-power-it-holds

As a backstory to their origins, the band recently released a 20 minute documentary featuring the hilarious exploits of Cody and his fellow fridge warrior Luke “Java” Sackenheim. The documentary can be viewed here: https://www.youtube.com/watch?v=8m1zCBvL4EU

https://www.facebook.com/KillerFridge

RingMaster 07/04/2015

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