Killer Refrigerator – Refrigeration Plague

Whether you heeded the warning the first time around or indeed the second, US metallers Killer Refrigerator are back to stir us again to the threat of and war with lethal appliances through new album Refrigeration Plague. This time around the rebel rousing caution comes in an even more multi-textured and flavoured technical death thrash proposal which simply has you glancing over your shoulder at those electrical menaces lurking and waiting to strike.

Refrigeration Plague sees the alert incite and rabid creative antics of vocalist/guitarist Cody Coon (UnKured) once more linking up with bassist Countess “Lia” Blender and producer Luke “Java” Sackenheim from Bum-Ass Studios who also took care of mixing and mastering the Cincinnati outfit’s latest confrontation. The album follows 2014 debut full-length When Fridges Rule This World and the moment when arguably people really took notice, The Fridge and the Power it Holds EP of the following year. Confirming the suggestion Java made when sending over the album that Refrigeration Plague is a “tighter” proposition from the band than ever before, the release equally swiftly declares itself their most unpredictable and creatively psychotic without losing any intensity in its instinctive death/thrash breeding across fourteen ferocious encounters.

It opens up with Autoerotic Refrigeration and the dancing bass of Blender before things become far more frantic as Coon in guitar and voice vents his anxiety. Ravenously infectious and rapaciously nagging, the track is a minute and a half of fevered goodness setting up album and a greedy appetite for it with ease.

From there the listener is dragged into the darker heavier grime of Vacuum Doom (Rise of the Dirt Devil), every element as eagerly skittish in the first now revealing a slower, predatory side. Prowling with a sonic glint in its eye, the squealing guitar and vocal tones of Coon again entice; their trespass darkening as the track reveals the bolder tempest of its heart and technical menace of its presence. It ebbs and flows in intensity and creative mania before Night of the Living Bed slips in with its initial corrupted innocence surrounding the introductory tones of Adolf Green who subsequently sets the release ablaze with his sax. The track itself is a sweltering pyre of blackened death and thrash metal; the sonic niggle of the guitar a wiry web as loco as it is skilful; an insanity which eventually consumes the whole irresistible and increasingly psychotic encounter.

Dryers Eve follows with its own creative dementia; a technical delirium which invades and festers like a virus in the psyche. Again the senses enjoyably squirm under the threat of voice and guitar, instincts seduced by the roaming exploits of the bass whether the track saunters or launches itself at breakneck speed. As another threat is uncovered, Killer Refrigerator shows it has really grown in all aspects, next up C.H.U.D. confirming the fact with its virulent asylum of sound and craft. As most around it, it is a slither of a track but one more active and compelling than most multi-minute offerings.

The excellent funky antics of The Revenge of Frankenstove has hips and imagination swinging next, its cross-over mania a sinister and beguiling aberration while De Maytagus Dom Samsungus is a murky yet still contagious consumption of the senses. Both tracks have body and thoughts trapped and elated with their individual enmities, the first especially addictive before the visceral stomp of Gas Station Strangulation eclipses both; bloodlust in its nostrils and sinful misdoings in its soul.

A Salad Named Elizabeth follows with the guest introduction of Kitty [Pryde]; her flirtatiously unaware of danger tones the prelude to another kitchen nightmare of demonic proportions. Its rabidity in sound and intent is a tsunami of primal discontent and skilful manipulation which fascinates and ravishes the senses. Whether its death bred body quite lives up to the excellent opening is debateable but across four plus minutes, the song has attention and pleasure engrossed, a success Spaghetti and Meatballs similarly achieves with its evil rascality.

The excellently titled It’s Not Over Toilet’s Over springs its technical helter-skelter straight after, infesting ears with sonic and rhythmic paranoia while the murderous trial of Splatterfarm is rose coloured pleasure chewing on the senses.

Refrigeration Plague finishes off with firstly its title track, a malevolent infestation of sound and enterprise becoming more violently catchy by the minute and lastly Beyond Frigid Horizons, a kaleidoscopic fury of metal which almost does not know when to depart and is all the more fun for it.

Killer Refrigerator is not a band for everyone, especially if a sense of humour is left at home, but musically is one of the most enjoyably imaginative and voraciously bold extreme metal propositions out there. So be brave and dive into Refrigeration Plague you have nothing to lose and everything to gain as all those appliances leer at you waiting.

Refrigeration Plague is available now @

Pete RingMaster 15/08/2017

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Thunderous Proposals: Exploring Endrah With Vocalist Relentless.

Endrah_RingMaster Review

We all know that there have been some mighty and fiercely inspiring bands which have emerged out of the Brazilian metal over past decades but its underground scene is no lightweight either. It is a seriously thriving landscape bubbling with an array of impressive bands across the whole array of metal based styles. One such proposition is Sao Paulo Deathrashcore quartet ENDRAH, a band which formed in 2002. Since then they have become one of the major roars with the Brazilian underground, one increasingly nudging thicker and broader attention. Just becoming aware of them ourselves now, we seized on the chance to learn more about Endrah and future plans with vocalist Ryan Raes (Relentless).

Hello and many thanks for sparring your time to talk with us.

Can you first give us some background to how it all started and when you got involved?

ENDRAH is based out of Sao Paulo, Brazil. The band was formed by several Brazilian pro musicians and American Billy Graziadei of BIOHAZARD fame. My name is Relentless and I am the vocalist since 2005. I travel to Brazil for tours yearly, and we meet up at other locations around the world to tour.

I first heard of the band Endrah on a post saying Project of Biohazard member looking for new vocalist. I checked it out and was blown away by the raw heavy sound. The band formed when several Brazilian members were playing together and Billy Graziadei married a Brazilian lady and they all got to jamming; things became Endrah eventually.

Have you been or are involved in other bands outside of Endrah?

Yes, I have been in California based metal band, VENGINCE for 21 years now. The band started in school, and we still play to this day. The band is more melodic than Endrah though still tough and heavy.

What inspired the name Endrah?

Endrah is a sort of twist of The Hindu God Indra and a person’s name from what I gather. I was not in the band or present during that time of the name process but each guy references Indra when asked.

endrah2_RingMaster ReviewSince the early days, how would you say the band’s sound has evolved?

Our sound has become less desperate than the beginning, but Endrah is a very heavy and technical. We still bring our trademark sound to the new songs being recorded today and I think we have grown as musicians and song writers and still have a lot to show people.

Has it been more of an organic evolution of sound or has the band deliberately tried to bring in new things?

The bands recordings have become more polished, but I know we are letting it happen and not forcing anything. The band is not “commercially viable” to most people and we have spent most of our time in the underground hardcore and metal scenes.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Life is a journey and we have learned a lot while walking down these dirty streets. We have similar goals as humans and musicians even though we are living a half a world away most of the time. Endrah is very good at we do and we deserve good things to happen. We have had all sorts of behind the scenes adversity to overcome already.

What things drive the voice of the band in its early days and now?

The band has a strong political and social voice, along with very thought provoking lyrics that deal with revenge.

So this is the main inspiration to the lyrical side of your songs?

I always write song idea notes whenever something comes up. Watching the news, and reading American Free Press Newspaper will get enough and then visits to Brazil’s poverty stricken areas inspires social change and awareness.

Is there a process to the songwriting which generally guides the writing of songs?endrah art_RingMaster Review

Covero the guitarist writes the riffs and then the bassist, Adriano, and drummer, Bruno add their parts and they tweak the song arrangements until it all flows good. Then they send to me videos of the rehearsals and demos to guide me for the lyrics and vocal mapping process which I do in my home studio in California. After that, the guys record their parts in Brazil, I do my vocals in the USA and then we mix and master somewhere. It’s all thanks to the internet that Endrah can truly thrive and communicate properly for a band.

Please give us some background to your latest release.

We are recording now for a May 2016 Release. The latest is a single titled Cadaver Na Barragem available online, and we did that for a Brazilian Compilation album. It rips! Give it a spin.

Can you give us some insight to the premise behind it?

This song is about our buddy Felipe who was stand up boarding on a reservoir in Brazil and he saw a bag floating on the water with tons of insects all over it. The smell apparently was horrific. He opened the bag and inside was a dead woman chopped in pieces. We wrote a song about what may have happened to her. It’s brutal!

You mentioned the writing process and with band members being so far apart presumably songs are pretty much finished going into the recording itself?

We try to be close as possible when entering the studio. We don’t have the luxury to pussy-foot around and waste money like the biggest bands do.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I am all about the live show. I thrive when it is live. I prefer touring over studio work. Endrah makes people go crazy and our crowds are wild and violent. It is a total pleasure to perform for our fans. You got to see an Endrah show yourself. Check us out!!

It is not easy for any new band to make an impact nationally let alone further afield. How has Endrah found it and are there the opportunities to make a mark if the determination is there?

Yes. In fact I think there are more “pro” Brazilian bands now than ever before in the metal genre. They have a couple dozen amazing heavy bands that are well known on social media and draw good [support]. Endrah knows most of them personally, including members of the biggest Brazilian heavy bands like Sepultura, Krisiun, Angra, etc.

How has the internet and social media impacted on the band to date? Do you see it as something destined to be a negative or a positive as a band grows and hopefully gets increasing success?

The fact that Facebook charges bands money to post to all our fans is total bullshit! They can make money in other ways, but now that they are a public company, they got to pull in more money every quarter. So, I see bands like our friends Biohazard who are only getting 10% of their audience reach when they post and it is apparently about 10% for any level band over 1,000 likes. So you have got to pay hundreds just to have your fans that follow you to all see the post. It’s some shit.

Endrah had to change our profile page when we switched record labels and we restarted the likes count, so it is not nearly as high as it should be, and it is difficult to grow the social media numbers when the companies want more and more money for artists who already have 90% of their music listeners illegally downloading the music to boot. That only leaves us with a few limited means of income and yet we are artists so we are not going away.

Once again Sir, thank you for sharing time with us; anything you would like to add?

Please check out ENDRAH and give us a like, drop us a comment, and share our pages. Also of course, please come to see us when we tour through your city next!!

Check out the band and their music further @

Pete RingMaster

The RingMaster Review 10/02/2016

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Conceived By Hate/Akheron – Coalition of Death

COALITION OF DEATH Cover low quality

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.



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



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

RingMaster 12/03/2015

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Madrost – Into The Aquatic Sector

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Once past the annoyance of the vocal squeal which instantly ignited the hostility of personal taste at the start of the second track of Into The Aquatic Sector, the new album from US death thrashers Madrost only provided one deeply satisfying and enjoyable rampage. Thirty minutes or so of raw and contagious pleasure the album buffeted, antagonised, and most of all thrilled ears and emotions through its eight inventively angry slabs of extreme metal hostility. It is not arguably ground breaking stuff but it is the making of a long-term attachment to a band bringing a freshness and devilry to the thrash scene.

Based in Lake Forest, California, Madrost formed in 2007 and was soon an attention grabbing force in the metal underground scene around Los Angeles and Orange County. A trio of demos across 2008 to 2010 alongside the band’s live presence reinforced their emergence before the Infected Chaos EP of 2011 and especially the well-received debut album Maleficent a year later, pushed the band to wider recognition. Now they look towards the wider world with Into the Aquatic Sector and such its accomplished tempestuous ideation and sound it is hard not to see it making a noticeable mark in the global metal scene.

A brief atmospheric instrumental opens up the album, The Unknown, a sinister melodic coaxing which initially seems at odds with what is to follow but in hindsight works quite well with its portentous hint at the more progressive essences blossoming in later tracks. The suggestive piece makes way for the instantly rousing attack of Frozen Beneath The Snow. Within seconds riffs are gnawing the senses and punchy rhythms challenging ears, the heavyweight incitement not startling but definitely anthemic in its lead. That earlier mentioned vocal piercing leaves an unwanted shudder, but again just down to personal preferences, before the track twists and flirts with the imagination through spicy grooves, unrelenting riffs, and the great brawling vocal scowling of vocalist/guitarist Tanner Poppitt. There is a fury to the heart of the song which finds release through the incessant and varied guitar hostility of Poppitt and Alejandro Pelaez, and most potently the crushing beats of Cesar Escobar. Just as potently a melodic weave also adds its invention to seemingly not temper but inflame the anger of the song further.Madrost into the aquatic sector 002

It is a great full entrance into the album matched right away by Universal Energy. From its first breath within a hellacious rhythmic battering, the guitars spin a progressive kissed melodic enticement before joining the savage intent of the track. The bass of Richard Orellana grumbles and incites just as imposingly as the skilled enterprise of the guitars and drums, again hostile and seductive tendencies finding a union to impress and thrill. Apart from more sonic vocal expulsions, the song hits the spot leaving neck muscles and senses happily throbbing before passing the album’s ferocity over to Operation: Xenomorphic Protocol. Entwining moments of unbridled assault and stalking predation, the song transfixes through the imaginative aural sculpting of the guitars. At the start we said the album was not setting new templates but there are times as in this riveting proposition where Madrost cast something uniquely fresh and compelling.

   The Oceanic Prelude is another instrumental to allow a catch of breath, forty two seconds of melodic beauty reinforcing the impressive craft of the guitarists and songwriting in the album. It sets the imagination up nicely for the following savagery of Subterranean Nightmare, its first touch a maelstrom of concussive beats and scarring riffs. The short piece also marks where Into The Aquatic Sector leaps to another plateau, its successor an exhilarating fusion of heavy and thrash metal ferociousness aligned to more progressive ingenuity. There is even a great passage of jazzy enterprise from the bass of Orellana to leave a wider satisfied grin on the passions.

Its masterful success is matched and surpassed by the final pair of songs. The title track is a tempest of sound and creative devilry from the first rhythmic slap and sonic violation. Twisting with dervish skill and flirting with the imagination through its fiery genre fusing invention, the track is still a trash driven ravaging of the senses but unafraid to slip into something more melodically comfortable to spark rich intrigue and fascination. The closing Depravity is a more malevolent beast, driving for the jugular with raw riffs and violent rhythms not forgetting spite blessed vocals. It belies its viciousness though by a contagious swing to its grooves and infectious devilry to its melodic endeavour. The result is a seriously addictive and bruising stomp which thrills body and soul as it rips through them with sonic animosity and rhythmic brutality.

It is a glorious end to an outstanding album which with each listen does make you re-equate its originality. That aspect can be debated but what cannot be denied is that Into The Aquatic Sector is an exciting beast of an album and Madrost a band with all the potential to ignite extreme metal ahead.

The self-released Into The Aquatic Sector is available digitally and on CD now via CD Baby, Amazon, and i-Tunes.

RingMaster 25/09/2014

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Spewtilator – Goathrower


    If a scourge of any descript, be it human, natural, or emotional, ever needed a band to soundtrack its devastation than US death thrashers Spewtilator would be the perfect candidates to provide it. Their sound is as pestilential and vicious as any plague and just as virulently addictive, the evidence no more forcibly shown than on new EP Goathrower. Released on Valentines Day, the five track sonic spillage of malevolence and brutality takes no prisoners, a brew of thrash and death metal cast in a grindcore grip fuelling its rampage whilst leaving lingering scars and a depth of satisfaction and enjoyment which on the surface you would not imagine possible. It is a challenge not all will embrace to be honest, a spiteful fury most will cower from but for others the EP is a reason to spit blood every morning.

   Formed in 2007, the Atlanta trio has scarred plenty of psyches since their opening attack in the Thrash N Splash demo of 2009. The two EPs Get Conjured and the acclaimed Inhale Awaits of 2010 and 2012 respectively, marked the band out for attention from a rising blood lusting fanbase whilst a split with Death Of Kings called Total East Coast Devastation and another with Coffin Dust on Ancient Rites of Getting Conjured, the two released either side of their last EP, only reinforced their specific and unique sonic savagery in the larger scheme of death/thrash metal and grindcore. Goathrower is the band at its most vicious, furious, and compelling, an onslaught which leaves senses bruised and satisfaction heavily indulging in the peculiar toxicity of Spewtilator.

    The title track assaults first; a raw and abrasive intensity aligned to an equally caustic sound smothers the ears whilst a thrash Spewtilator_LoRezstride of riffs charges head on into a brewing cloud of death metal malevolence. It is a stirring and almost anthemic mix of provocation which grows in antagonism and strength as guitars throw spears of sonic endeavour and a varied vocal delivery bruises the senses. The production of the EP is as coarse and punishing as the songs to accentuate their vicious and squalling sonic bluster. The opener is a riling and rousing start which is soon matched by the following Cherokee Curse, the track another scathing fury of sound and emotion. Holding an even greater hardcore vitriol to vocals and its punk thrash core, the track is unafraid to test the listener and stretch its remit, a classic metal surge vocally and musically spewing from within a tempestuously blackened maelstrom of intent.

     Both songs provide bait hard to resist even if it comes in an uncomfortable and uncompromising tempest. That satisfying confrontation is soon matched by Cave of Hatred, though at only twenty seven seconds long it does not have time to improve or damage anything if we are truthful. Nevertheless the storm is a corrosive intimidation which leaves just that little more pleasure in its brief wake, something Afterworld Inebriation provides in greater depth and scale next. The best track on the EP, it has a swagger and groove beneath what is another tirade of venomous vocals and sonic devastation driven by a rhythmic voracity. It is masterful siege of grindcore and death thrash hostility moulded into a contagious strength sapping grudge.

     Fifty odd seconds of hardcore and thrash spawned virulence in the pestilent shape of Let’s Get Drugs concludes the Boris Records released Goathrower, another raging proposition which will ignite or disturb your emotions  depending how Spewtilator take you. If their kind of venom is to your taste than definitely the new release is them at their finest malicious yet and well worth taking a beating from.


RingMaster 14/02/2014

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