Fleshdoll – Feeding The Pigs

Fleshdoll pic

If you like your death metal voraciously brutal and old school bred but with the balls to twist that template to its own devious ends, oh also with a tongue firmly in someone’s cheek at times, then Feeding The Pigs from French metallers Fleshdoll is one recommendation to definitely check up on. The third album from the Toulouse quintet is not a proposition sculpting something new or scarcely trodden before but for uncompromising yet mischievously adventurous extreme hostility, it is a thoroughly contagious and satisfyingly exhausting protagonist.

Formed in 2001, it was the band’s debut album [w.o.a.r.g] five years later which really awoke the French underground metal scene to the arising presence and force of Fleshdoll. Released via French label Thundering Records/Manitou Music, the album was well- received and lauded as the band spent their energies playing show after show on the way sharing stages with the likes of Svart Crown, END, Blockheads, and Zubrowska. In 2006 Fleshdoll became the first death metal band to play in Casablanca, bringing their raw spice to the Moroccan scene treading in the line set already by Kreator and Moonspell. The following year second album Animal Factory is uncaged and again the band is garnered in acclaim and attention as they take it on the road, playing with bands such as Malevolent Creation and Loudblast. A line-up change stepped up next before Fleshdoll stepped into the studio with Gorod drummer Samuel Santiago to record Feeding The Pigs. Its triumph has thrust the band into another soaking of eager plaudits and focus, a new spotlight enhanced already this year as they went on tour across France with Loudblast and Benighted, Europe with Resurrection and Cremation, and before that Japan with Vomitory, Beyond Creation, and Defeated Sanity.

The album launches at the listener with its title track, an instantly vicious and ridiculously compelling maelstrom of annihilatory rhythms, Fleshdoll coverguitar violations, and vocal predation. Into that delicious hellish mix sharp and short acid spewing grooves infest the psyche to further spawn eager rapture. It is an immediate enslavement as the rhythms settle into a controlled prowl whilst still making the most intensive demands and threats alongside a devilish swagger which drives the vocals and guitar enterprise. It is an extraordinary track, one as suggested in regard to the album, not necessarily breaking boundaries but certainly caging the essence of the genre in a virulently infectious and explosively incendiary design.

The opener is such a stunning song that certainly for a while the album struggles to match up to its strengths and toxicity though right away both Collateral Murder and A Feast For The Rats give very worthy shots. The first of the two virtually stalks down senses and imagination, its bestial provocation sizing up and crawling all over the ears and emotions whilst rhythms juggle skilfully with their bait whilst the guitars in league with the bass swarm over the listener in horde like fashion but with enough sonic endeavour and creative invention to cast a constantly intriguing premise. Its successor sits back on the tail of urgency initially before twisting its gait and body through persistently changing and unpredictable turns of direction and pace. It also is loaded with impressive craft from guitars and brutality from Santiago but like its predecessor lacks the explosive spark of the first song as well as the vaunt and open smile. Nevertheless the pair healthily feed an already greedy want from the album bred by the title track as too does the following song, The Wolf.

The album’s fourth song lives up to whatever the imagination can conjure for the song name, its vocal roars and the unrelenting jaws of the riffs worrying and tearing at the senses whilst the heavy paws of the bass and crippling swipes of the drums only compound the mouthwatering attack. Spiteful grooves latch onto the charge of the song soon after before its body switches between prowls and all out assaults again and again ensuring expectations have nothing to latch on to and full attention is taken on a feisty captivating ride. The track gets closer to bridging the gap between the starting pinnacle and the rest of the album especially with its fiery hues of the guitar and solos.

Dead Monochrome is a demonic pestilential fury which sears and consumes from its first malevolent breath, a dark venomous scourge complete with deceitful melodic tempting and addiction sculpting grooves which offer respite knowing the rest of the ruinous intent of the protagonist will suffocate any hope. From this point in many ways the album goes through a slight evolution starting with the sinister breathing instrumental The Hollow Men. It is not a big twist in the premise of the release more a stronger investigation of the melodic and adventurous hints shown in A Feast For The Rats but it does bring a slight movement from animalistic intensity to inventive exploration. The Shadow Of A Man right away certainly shows no signs of diminishing its carnivorous appetite, riffs and rhythms uniting for a tunnel of grievous chastisement, but that is subsequently joined by a flood of melodically seeded flumes. As its mass continues to fill ears, the song brings in a rhythmic enticement which in turn moves into an oppressive swamp within which acid running veins expel sonic tempting.

The pair of Ecstatic Random Carnage and King Of Patusan more dramatically bring something distinctly new to the tortuous fun, the first wrapping its savage and imposing weight around the senses before unveiling a weave of furnace bred melodies and psychotic patterns around the gutturally spawned vocals. Imagination is lit right away but given a greater thrill as the song sweeps into a heavyweight passage of invention which is jazzy in its colour and funky in its energy before returning to a keen ravaging of ears and beyond. The second is technical/progressive flavoured metal imagination within a severe and tempestuous domain and again as the previous song easily seduces thoughts, both songs stepping forward to not equal but definitely rival the first peak in the album.

Completed by the excellent North Sentinel Island, an absorbing encounter which can be onerous at one moment and within a single lung’s expulsion seduce with entrancing ambience and beauty, Feeding The Pigs is a thoroughly satisfying and enjoyable intrusion. Certainly Fleshdoll can be compared in varying degrees to the likes of Cannibal Corpse, Napalm Death, Carcass, Bolt Thrower, and Kreator as a reason to check out their album but it shows that the French band is working on forging their own unique path and it is coming along very nicely.

Feeding The Pigs is available via Great Dane Records now!

http://www.fleshdollband.com

8.5/10

RingMaster 23/05/2014

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Darkall Slaves – Abysses of Seclusion

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There has been a fair bit of anticipation for the debut album from French death metallers Darkall Slaves ever since their demo of 2008 but you can only imagine that hunger will take on a new intense greed as the single Abysses of Seclusion begins to ravage the world. The two track release is a brutal and exhausting piece of savagery brought with a craft and intensity which verges on suffocation but ultimately ignites the passions, well if extreme metal though that term short changes the creative barbarity unleashed, is your poison. If not it is a release to let fear dictate that you stay away.

Formed in 2005, the band despite plenty of line-up changes across the years have steadily and constantly drawn and earned strong responses and attention, through their previously mentioned self-released EP and live performances which has seen them play numerous festivals such as Germany’s Death Feast, Belgium’s Mass Deathstruction, Holland’s Neurotic Deathfest (official after-party) and Houten Deathfest, as well as share stages with the likes of Defeated Sanity, Gorgasm, God Dethroned, Hate, Lividity, Sinister, and Vital Remains. Recently the band, as well as undergoing another change of personal which features members past and present of Unsu, Amputated Repugnance and Visceral Carnage and the quintet now driven by two vocalists, signed with Kaotoxin Records. Working intensely on their debut album the band then recorded a preproduction demo which so impressed the label that they decided to release it as a single, and as the tracks churn over and devour the senses it is easy to see why.

Opening with an intro which would grace any psychotically spawned tale the first track proper, Mindless Damnation, spews out 760137002321_TOX023_Darkall-Slaves_Artwork_600x600-72gutturally drenched vocal squalls and rabid riffs whilst the drums lance and parade the ears on their rhythmic spikes. It is a tsunami of energy and venomous intensity yet there is a clarity and union of individual voices from guitar, bass and drums which is mesmeric in its beauty and monstrous in its menace and destructive hunger. Lyrically, well who knows, the vocals a maelstrom of intestinal ruptures and porcine squeals, and thoroughly compelling alongside the insatiable predatory sounds.

The title track as expected is equally uncompromising and vocally grasping. As with its companion the track is sadistic and threatening to the senses and emotions, its primal lurching through the ear the prelude to a bordering on cruel seduction bred by bloodlust seeded riffing and inhumane rhythmic confrontation. Yet there is always a vicious groove whether slight or fully open which acts as a potent temptation to ensure capitulation.

The Tsun Tsun Productions produced Abysses of Seclusion is a masterful piece of skilled violence disguised as death metal and one suspects the trigger for a ravenous greed towards the forthcoming full length from the band.

www.facebook.com/darkallslaves

8.5/10

RingMaster 04/06/2013

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Spawn of Possession – Incurso

Having heard impressive things about Swedish technical death metal band Spawn Of Possession there was an added intrigue about the eagerness that accompanied the venture into the new album from the band, Incurso. One can read a never ending flow of words in praise but it is only when the sound and creativity hits you that you understand the height or depth of a band or their release. Nothing indicated the stunning and immense power, uniqueness, and pure imagination that were to unfold as Incurso laid its wizard spawn artistry and ingenuity upon the ear. First listen has one staggering under the sheer weight of diversity and inventiveness not to mention the all consuming intensity, but given further attention and shared experiences the album becomes part of everything, as potent as breathing and as lingering as death.

       Incurso is the third album from the band and their debut on Relapse Records. The five year wait has been long for their fans to endure and an unpredictable time for the band with multiple line-up changes sine predecessor Noctambulant. Last year saw the combined might of guitarists Jonas Bryssling ( last remaining band founder) and Christian Müenzner (Obscura, Ex-Necrophagist, Ex-Defeated Sanity), bassist Erlend Caspersen (Deeds Of Flesh, ex-Blood Red Throne), drummer Henrik Schönström (Unmoored, ex-Torchbearer), and former drummer Dennis Röndum who moved to fronting the band with his inspired vocals, emerging and together conjuring and album which not only sets the senses aflame but manipulates and toys with them like maniacal puppeteers.

It really is hard to describe the majesty and incredible technical skill as well as the pure organic feel the band creates on the album. Incurso is a release that hits you instantly but also takes time unveiling all of its qualities and deeply rooted additive grip. Whether listening to it for the third or thirteenth time something new finds its way into the ear bringing each listen a surprising and new experience taken with a close hearted friend. Repeating dreams or nightmares offer something new with each venture into your sleeping state, Incurso does the same bringing new shadows and light with malicious twists each and every time it fingers your senses and consciousness.

The release opens with instrumental Abodement, a piece which is for them relatively straight forward but opens up the ear with a skilled musical weaning before taking one into the maelstrom of intrusive delights ahead. Where Angels Go Demons Follow takes no time getting down to business, its guitars slicing through the ear with crafty intricate skill and maximum venom whilst the slightly reserved rhythms rather than blast its victim wears them down with incessant niggling. The bass plunders the nerves with intimidating riffs whilst Röndum spews out his intent and words with the blackest malevolence. Combined they pilfer the senses of feeling until they lie numb and shell shocked under the intense testing. This is only the second track; you can imagine how one feels as the closing threat of Apparition takes its leave.

As songs like The Evangelist, a track which spatters the ear with intensive rhythms and provocative riffs whilst meandering through scorched diversity, and Deus Avertat rupture and expel a sonic beauty and devastation upon every corner of the mind and body, the album just grows in greatness and more power. The second of these two songs courts the mind with acidic intrusions whilst leaving it with bruised contusions from its unrelenting complex and sophisticated senses blowing conjurations. From beginning to end the album ignites and fires up so many emotions and thoughts to match its vast cacophony of ingenious creativity, songs like Servitude Of Souls and No Light Spared as triumphant as those already mentioned.

Imagine the likes of Obscura, Gorod, Uneven Structure, and Meshuggah boiled down to a puree and then added to something distinctly different and you get Spawn Of Possession. Incurso is a monstrous beast, and as it annihilates and blisters the senses with its technical brutality and sophisticated creativity it takes them into new realms and pleasures, lighting them up and eager for more and more of its violations. The album hits hard and fast inviting you to spend more and more time in its devious arms, but the delights it gives when you succumb are beyond measure, try it!

RingMaster 09/03/2012

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