Turbocharged – Area 666


Like being chewed alive by a pack of bestial behemoths whilst multiple jackhammers unrelentingly assault the senses, Area 666, the new album from death punk destructors Turbocharged, is one irresistible carnivorous tempest of unbridled intensity and sonic annihilation. Unleashing fourteen antagonistic predators with the energy and power to not only break down the sound barrier but ravage it with pure inventive spite, the album is pure ruinous intent and mastery. If there has been a hungrier violent fury released this year it is hard to recall but Area 666 is undoubtedly one of the most enjoyable and invigorating.

Formed in 2000, Turbocharged went from a trio at the start to having increasing and decreasing line-ups for the initial few years before finding itself back to a three piece again. This period also saw a demo recorded but it was unreleased. 2008 saw the band now back to a trio deciding to abandon the search for replacements for the lost members and the release of the Branded Forever demo. Its successor Arrogantus Metallus appeared the following year with the band also appearing at the Thunders over Miriquidi festival in Elterlein with the likes of Törr, Death SS, Kat, Interment, and Tormented. Debut album AntiXtian was recorded in the spring of 2010 though delays meant its release was not until December 24 that year, Lemmy’s birthday which in many ways listening to the new release is more than apt. Released on CD through Chaos Records a short while after, the release was well-received as the band continued to build their reputation with live shows which saw them sharing stages with bands such as Violentor, Sofisticator, Paganizer, Die Hard, Obsessör, Hell (Uk), Hammer, Children Of Technology and many more. The MCD Christ Zero of last year increased their stature again but you can only feel that Area 666 is the trigger to the fullest recognition and awareness. The album is bloodthirsty, nasty and at times plain vicious but it is a war on the ear you just do not want to stop or find mercy within.

The trio of vocalist/bassist Ronnie Ripper, drummer/vocalist Freddie Fister, and guitarist/vocalist Nick Shitstorm a.k.a. Old Nick, do not take Area 666 covera breath before sending a tsunami of riffs and rhythms crashing down on the ear with the title track, the scowling growls of Ripper instantly there to scold the senses. Soon into its stride the track is a punk infested scourge of guitar and drums with the bass adding extra unkind menace to proceedings. Littered with glorious anthemic gang chants and sharp bladed grooves the track also shifts through varied gait and intensity which seamlessly moves from breakneck adrenaline driven rampage to lumbering almost suffocating death throes and back again. It is a staggering start which is occasionally equalled but always challenged across the album.

Swarm does exactly as it says on the tin, just with more vehemence and vitriol than maybe hoped. An incessant scrub of sonic intrusion and rampant rhythms coated in a predacious riffing which leaves the body exhausted and cowering, the track is a blaze of ferocity and compelling maliciousness. Again like its predecessor, the song offers switches in attack and weight not forgetting hungry hooks and sonic imagination which tear at the passions to restrict escape. Standing toe to toe with the opener it is easily backed up by Christian Corpses and Worshipper, the first an almost sing-a-long like blistering where you can imagine Motorhead fans on extreme metal karaoke nights blissfully letting rip whilst the second is a darker rapacious malevolence, though no slouch on the fire searing energy and riff driven maelstrom front either. A scorching solo from Shitstorm sends the appetite into rabid hunger whilst the assault as a whole is pure addictive heavy-duty frenzy.

Through the likes of the brilliant sonic devouring that is Masses, Mortals and Maggots, where submission to its barbarous charms is instant, and the voraciously attentive Godfearings Cunts where senses are under a deluge of either heartless riffs or guitar majesty, Turbocharged pile on the intensity and pleasure whilst the crushing juggernaut of a murderous antagonist Scavengers Of the Light and especially the wonderfully severe Churchfire Commando take those same emotions into overload. The last of these is sheer scintillating toxicity, grooves and riffs make an insidious union to entrap and enflame the listener whilst the pestilent savage throat of the bass and the bone splintering rhythms are inhumanely lethal.

Every track on the album is a welcome bane, the further likes of noxious The Slut and The God and the fearsome closer Christcrawler making potent confirmation. Though across the album there is an open diversity, the surface assault of tracks means if the first couple do not do it for you than a run for the hills is in order as there is no change to the devastation pending. If like for us Turbocharged rip immediate subservience from the passions than Area 666 is a dangerously epidemic treat.



RingMaster 07/09/2013

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Death SS – Resurrection

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    Resurrection the follow-up to the critically acclaimed previous album The Seventh Seal sees the return of Italian heavy metal band Death SS and their compelling tales and sounds of horror soaked devilry. Formed by vocalist Steve Sylvester with its first recordings as far back as 1988, the Pesaro band has been an ever potent presence within Italian heavy metal and to a lesser degree the world. Taking, one suspects a more than healthy influence from the likes of Alice Cooper, and possibly inspiring again on assumption the likes of current bands such as Houston! and Superhorrorfuck, Death SS create a blend of metal and drama inspired by horror movies and literature and apparently also this time around the Italian sexy-horror comics of the Seventies especially in the album art work. Resurrection is at times a riveting excursion through crimson red temptation but also has tracks where inspiration is lacking for song and listener, something which suggests that many of the bands they may have sparked life within have since surpassed their own creativity. Despite that for the main the album is a pleasing and easy to return to riot of familiar fun.

For the first half of the Lucifer Rising / Scarlet Records released album, Resurrection is a bit hit and miss, the alternating tracks bringing death-ss-coverrides of horror rock and more straight forward heavy metal, and the former much more thrilling than the latter style. For the first time Sylvester produces a Death SS album and does a great if unspectacular job whilst alongside guitarist Al Denoble, keyboardist Freddy Delirio, bassist Glenn Strange, and Bozo Wolff on drums, he leads the stirring passions through a disjointed but appealing journey of rock ‘n’ roll. The album certainly gets better the further into its body you go too, finding a stronger consistency to the variation working its devilment.

Opening track Revived opens on a pulsating heartbeat with a sinister ambience soon emphasised by the vocals of Sylvester. This menace is accelerated by the joining throaty bass and wide rhythmic punches all scored by sonic guitar lashes. Into its thumping stride with a blanket of refreshing electro temptation, the song is a rampant stroll of horror rock which instantly brings thoughts of Wednesday 13, Frankenstein Drag Queens from Planet 13, and as mentioned earlier Superhorrorfuck. It is not bursting with originality but as the riffs and rhythms cast their contagious net around the senses and the vocals unleash their raucous grazing it is imagination capturing fun.

The following track The Crimson Shrine avails itself of a more classic heavy metal breath, riffs and drums a tower of sinews whilst the keys paint a symphonic picture upon the big boned canvas. The guitar work of Denoble is impressive and creates enthralling shards of melodic flames across the song whilst the additional female vocals temper things with grace and beauty, but the track is pale in potency against its predecessor and next up The Darkest Night. To be fair some of this is down to personal preference towards the two styles offered but it is an uneasy lie in many ways nevertheless. Its successor takes a mere breath before launching another muscular stomp of horror rock/power metal like persuasion. The electronic veins provided by the keys are like torches, lighting the thick shadows of the narrative which dance within the crushing frame of rhythms and hungry predatory riffs. Like the first song there is nothing unheard before but delivered in the accomplished and energetic style of Death SS leaves a very satisfied appetite.

The decent enough melodic charms of classic metal honed Dionysus lead into the rapacious growl and hold of Eaters, the track a bestial torrent of steely jawed riffs and mountainous rhythmic provocation driven by great vocal incitement, lyrically and in delivery. Again it is no coincidence that the song is a Cooperesque/Murderdolls like romp with lethal dangling weaponry disguised as guitars solo and bass lines to enslaved and tear the senses into bliss, and is the style exciting these ears.

The likes of the Ogre’s Lullaby, with its psychotic whispers and heavily laden vocal tempting, and the metallic swing/swagger of Santa Muerte both ignite thoughts and a little bit of greed for their sinew stretching and especially in the first, schizo charms, whilst The Devil’s Graal is a crawling provocative beast that leaves welcomingly entrenched sonic claws and dramatic teeth in the senses. As mentioned previously, Resurrection gets stronger and more perpetually appetising as it works nearer its climax, both the Manson like Precognition with its rhythmic juggling and carnivorous riffing and the bruising rock n’ n’ roller Bad Luck proof as they leave limbs and passions laying down an accompanying energetic escort. They make a thrilling conclusion to the album and compensates for the disappointment of songs such as the bland The Song of Adoration, certainly in comparison to this last pair. Wrapped in the great artwork of Emanuele Taglietti, an internationally renowned painter and author of all the covers of cult adult comics such as ‘Belzeba’, ‘Zora’, ‘Sukia’, ‘Cimiteria’, ‘La Poliziotta’ to name a few, Resurrection is a very enjoyable album even with songs which just do not ignite any heat for their presence included, and though there is nothing truly new here which has not been discovered and reaped elsewhere, it is hard not to like and want to return to.



RingMaster 31/07/2013

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