Foetal Juice & Human Landfill Split

Split artwork

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

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

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

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

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

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

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

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

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

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RingMaster 05/03/2015

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Merciless Terror – Vile Extinction

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A venom fuelled rage in the ear which soon makes its way to thoughts and passions, Vile Extinction the debut album from UK thrashers Merciless Terror is a self-perpetuating sonic pestilence which leaves a certain hunger for the band and their sounds ahead whilst making one striking and synapse wasting confrontation in the now. Like so many releases around it is not stalking new fields of invention for thrash metal or preying on the senses with undiscovered inventive maliciousness but it comes with an attitude and creative freshness which sets the album apart from most of its contemporaries.

The Nottingham quartet formed in 2009 using the inspirations of the likes of Slayer, Malevolent Creation, early Sepultura, and Bolt Thrower to fire up their imagination and invention. Their sound creates a magnetic maelstrom of thrash and death metal which from its first touch takes a firm grip on attention and over numerous excursions through its vitriolic presence, as shown with Vile Extinction, ingrains itself for stronger reactions. Theirs is a sound which consumes and crushes with a torrent of riff rabidity and rhythmic destructiveness but one which is unafraid to venture through more imaginative and violently enterprising scenery than most. From their acclaimed first EP Perpetual Devastation in 2011, the band despite several line-up changes has cemented and stretched their opening recognition through their live performances which has seen Merciless Terror aurally terrorising fans across the UK, Europe, Japan, and Scandinavia whilst playing alongside bands such as Bolt Thrower, Benediction, Malevolent Creation, Bonded By Blood, Desecration, Cerebral Bore and many more, and with their Eternal Decay EP of last year. Now the foursome of vocalist Dale Linsdell, guitarist Luke Tasker, drummer Michael Brush, and bassist Dan Oldcorn take it up many levels with the Devils Clause Records released Vile Extinction.

Opening atmospheric instrumental Omnicide 00.00 sets up the premise and theme of the album, “The damnation of humanity, the Front Cover 300imminent fate that will consume us all and lead the remnants of civilization to fight for survival, the result of mankind’s own doing by unnecessary wars because of religion, over harvesting, over spawning like a cancerous infection upon the earth and depleting the world’s life force.” It is an ominous if slightly underwhelming menace which is soon trampled beneath the rapacious entrance of Doctrine Of Malevolence, the track and vocals roaring with guttural animosity from its opening breath. Grooved riffery scorches the air whilst the drums provide a tsunami of breath stealing intensity and violence, and with the vocal squalling buffeting the senses whilst the sonic enterprise singes synapses like a shower of hot coals, it is a scintillating assassination of the thoughts and resistance.

From the tremendous start things only become more intensive and sonically carnivorous as firstly Circle Of Contempt rampages with a bestial craving to its rhythms and the inventive assault of guitar alongside bass rabidity to be swiftly followed by the unbridled predation of Enraptured. Merciless and loaded with a hunger rhythmically and sonically that simultaneously suffocates whilst tearing strips from the senses with its acidic toxicity and virulent intensity, the track is one of many distinct pinnacles upon the album with a vocal ferocity which simply dares you to disagree.

Both the outstanding ravenously addictive Baptized In Blood and the pulverising assault of Hateful Abomination brings blood and appetite to the boil, vocals and rhythms as potently vindictive and destructive as at any point on the album drawing an instinctive rapture which is lustful in its submission. The band continues to unleash a thrilling torrent of mouthwatering corrosive thrash cored violence through the adrenaline raising Process Of Eradication where the guitars sculpt a web of riffs and grooves which triggers greed drenched ardour and the exhausting World Desolation where nagging swarming riffs and equally addictive grooves prowl and hunt the senses as the rhythms cage their prey in sinew clad insistence before a sonic fire of a solo brings the heart of the song to the fore as another sumptuous tempest of annihilation reaps havoc.

From next up Imminent Death, a sub two minute intensive brawl on the senses, the album unveils evocative instrumental Dystopic Visions which though arguably for personal tastes is positioned wrongly in the track line-up for the best effect is an enthralling colour drenched melodic slice of creative beauty. It does bring the senses time to settle and relish the upcoming closing storm Existence Denied. The track has a more restrained launch at the ears but is soon thundering through their doorways to gnaw upon the senses whilst employing and crafting constant twists and enriching flavours for what is possibly the strongest and most inventive song on the album, if not ultimately the favourite. It concludes in Vile Extinction, an album of aggressive deeply satisfying thrash metal. It is not rippling with originality or threatening new avenues for the genre but Merciless Terror instead make it a confrontation with a balance of passion and ruinous intent which is extraordinarily skilled and exciting.

www.facebook.com/MercilessTerror

8.5/10

RingMaster 10/10/2013

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Foetal Juice – Big Trouble In Little Vagina

Foetal juice band pic

Savage and ridiculously addictive, Big Trouble In Little Vagina the new EP from UK death metallers Foetal Juice is instant evidence of a brewing vibrant storm within British extreme metal, making the suggestion that it is coming up to a glorious period. The five track release is a full on predator, a fury of insidiously contagious mayhem with an old school heart and breath driven by a modern technical and ravenous craft which rivals and pales releases trying to sculpt wholly new ventures for the genre.

Formed in 2005, the Manchester quartet has already earned and built a strong stature through their previous releases and live performances which has found the band sharing stages with the likes of Kastrated, Ghoul, Cannabis Corpse, Neuroma, Wormrot, Exhumed, Severe Torture, Anaal Nathrakh, Desecration, Prostitute Disfigurement, The Rotted, Slit, Life Denied, Cerebal Bore and many more. Their self-titled EP of 2010 brought firmer attention upon the band but it was the split release A split worse than death via Grindscene Records which really awoke major recognition for the band and their contribution to the release alongside the bands Nailed, Basement Torture Killings, Zombified, and Decimation. Its success and their striking efforts led to the label immediately signing the band up for the creation and release of Big Trouble in Little Vagina, a wise move you realise as its impressive powerful presence consumes the body.

The title track smears the senses in sonic vehemence to start things off, it’s opening breath of barbarous rhythms from drummer Rob 62657062519Harris and the air scorching riffing and sculpting from guitarist Ryan an instant fuse to total attention and the stalking stride and heart of the song. Vocalist Sam Read growls and squalls with guttural irreverence, ensuring lyrical narratives are unavoidable if often unintelligible. It works perfectly and makes a bestial provocateur to the groove licking fire of the sound. With a danger of whiplash to its recipients, though its generally even predatory pace ensures recklessness is absent for the main, and torrential venom to its corrosive invention, the track is a tremendously addictive start to the EP, one soon backed up by its successor.

Brewkakke, a re-recording of their 2012 single, also takes no time to contemplate its actions, riffs striking with ravenous intent from the off and the rhythms whipping splinters of cartilage from the ear with their muscular animosity. Even more primal than its predecessor the track leaves full appreciation the only option before its truculent jaws, the bass of Ben Read even with its less expected reserved sound and savagery a stirring instigator whilst the guitars again make a compelling toxicity which seeps through every pore of senses and imagination to seal the deal. The track is not quite as breath-taking as the first but with greater intensity and cruel dark hearted persuasion it is its equal.

    Semen Evil Smear No Evil is also a re-recorded track, this time taken from their debut EP. Accomplished and ruthlessly efficient in securing the already greedy appetite, the track is a blaze of vitriolic vocals and a mutually venomous guitar ravishing of the senses. There is something missing to place it at the levels of the previous tracks and those to follow, but the song is nevertheless a rampant creative violator which gives satisfaction another healthy dose of pleasure.

The final two tracks Serpents Of The Northern Lights and Service Station Masturbation, do take a grip of greater plateaus, the first through its sheer quarrelsome presence and corrosively absorbing destructive carnality. For most of its annihilatory flight the track storms with plenty to keep expectations employed though it is brought with a craft and violent flair which makes them escape banality. It is the constant twists and flares of adventure which can often slip by such their lack of intrusive intent that bring the assault to greater life and intrigue though for a thrilling result. The closing track takes the top honours on the release, its magnetising grooves and again the excellent mixed vocal scowls a template for lustful thoughts whilst the crippling bombard of outstanding rhythms and the exhaustive invention within the ingenuity of the guitar molestation is a seduction with the guile and rabidity of a pack of wolves.

Foetal Juice on the evidence of the excellent Big Trouble In Little Vagina has all the skills and invention to help take UK extreme metal to the world. It maybe looks away from originality with a sound which reminds of bands such as Gorerotted, Cerebral Bore, and Deicide, but for technical craft and passionate energy not forgetting explosive enterprise, the EP is a majorly promising and thrilling proposition.

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8.5/10

RingMaster 10/10/2013

 

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