Rivers of Nihil – The Conscious Seed of Light

RiversOfNihil_MainGroupPromo

Unleashing a debut album which intrudes upon and explores the psyche, UK progressive death metallers Rivers of Nihil is a band with a ruinous sound built with superbly accomplished textures. The Conscious Seed of Light is a captivating confrontation which as it devours and stretches the senses you can only have the feeling that its creators are at the start of a certain ascent to major recognition. The release is a demanding and intrusion affair, one which needs numerous encounters to truly reap all of its rewards, but a release which constantly stimulates and ignites imagination and passions.

Formed in 2009 by vocalist Jake Dieffenbach, guitarist Jon Kunz, and drummer Ron Nelson, the band from Reading, Pennsylvania, was soon gripping attention locally with their dark heavy explorations. Extended to a quintet soon after their first live shows by the addition of guitarist Brody Uttley and bassist/vocalist Adam Biggs, Rivers Of Nihil subsequently released a pair of well received EPs, Hierarchy and Temporality Unbound in 2010 and 2011 respectively, whilst extending their live performances through shows and tours throughout the East Coast and Midwest as well as appearances at events such as Midwest Fuckfest with Dying Fetus, Misery Index and Arsis, and Akron Deathfest with Complete Failure. As their stock rose the band continued to reap praise for their live performances which saw them going on to share stages with the likes of Suffocation, The Faceless, Despised Icon, Revocation, Beneath the Massacre, Dysrhythmia, Decapitated, Six Feet Under and more. September 2012 saw the band sign to Metal Blade Records before entering the studio earlier this year with Erik Rutan (Hate Eternal, ex-Morbid Angel) at Mana Recording Studios (Cannibal Corpse, Goatwhore, Exhumed) to record The Conscious Seed of Light. The result is an intense and dramatically agreeable death metal violation, a confrontation which is as abrasive as it is magnetic and as destructive as it is violently seductive. With essences of the likes of Morbid Angel, Gojira, and Decapitated to its uncompromising depths and presence the album is a release which cries out for attention, and you suspect will eagerly receive it.

      The Conscious Seed of Light is planned as the first of four related albums, each reflecting a season with Spring the theme of the band’s Coverdebut which explores “various themes concerning new beginnings, growth, and an attachment to the natural world in a post-human Earth.” It opens with Terrestria I: Thaw, the track a short instrumental which sets out the soundscape for the release to expand upon. The melodic breath and progressive endeavour of the piece is an instant if not quite dramatic draw which builds up its pressure and intensity to flow into the torrential assault of Rain Eater, its rhythms and vocals a squalling tempest of malevolence and creative causticity. Dieffenbach has a nastily grazing delivery which easily pleases and makes a great rub upon the sonically melodic enterprise which spawns from the guitars. As emerges across all songs, there is plenty going on within the vicious maelstrom, a wealth of invention which needs time to reveal its full suasion but provides potent and exhilarating rapacious flights each and every time.

The impressive start flows into the equally compelling Birth of the Omnisavior and Soil & Seed, both unbridled individual creative predations which leads senses and thoughts on a savage stalking of emotions and a dark damning aural storm. The second of the two is especially a bestial inventive ravaging which hints of directions across its sinewed flank but persistently just as you think you are on course with its intent twists down new avenues, its craft and mastery making for one of the major highlights of the release.

Across an album which holds its imaginative heights at lofty levels throughout, further immense pinnacles come with the dangerously addictive riff chugging Mechanical Trees and the intensive sonically scalding Human Adaptation with its Meshuggah like air splintering malefaction, whilst closing track Airless is a lasting voracious transgression which invites the listener to take the sonic tsunami of The Conscious Seed of Light all over again.

Not exactly an easy listen at times and a release with moments where distinction between tracks is lost without a really deliberate focus on the encounters the album is nevertheless an exciting provocation from a band you just feel has explosive horizons ahead of them. Rivers of Nihil is a name we will be hearing draped in acclaim starting with The Conscious Seed of Light.

https://www.facebook.com/riversofnihil

8/10

RingMaster 17/10/2013

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Damned Spring Fragrantia – Divergences

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There are many adjectives you can place upon Divergences, the debut album from Italian metallers Damned Spring Fragrantia, but the most accurate one is without doubt, savage. The album is primal predator, relentless, creatively skilled in the hunt and kill, and completely fearless in the lengths it will go to devour and annihilate. The ten track album is a brutal exponent of progressive metalcore/technical violence and irresistibly compelling, even as it corrupts every atom and synapse with carnivorous ingenuity.

Formed in 2006, the Parma quintet initially was a metalcore/deathcore confrontation. Line-ups changes helped shape and guide the band to the sound they were looking for and destructively lays awaiting within the album. With an invigorating technical animosity and progressive imagination to the still ravaging metalcore intent their sound is a monstrous capture of the imagination and now unleashed to consume on the world via Basick Records, Divergences takes what was started on the previous self-titled EP of 2010 on to another level. If you wanted to know what standing in the way of a tornado was like than slap this album on at the highest decibel, the only difference between the pair of viciously twisting maelstroms is that there is no merciful eye of the storm within the album.

As you can probably guess listening to Divergences is not exactly an easy or pain free experience but the damage and discomfort bred by the inventive sounds and deeply malevolent corrosion is simply delicious. For many listening to tracks singularly might be more to their liking but daring to endure the whole release in one full consumption with the songs rolling without a breath into the next brings the biggest and devastatingly impacting rewards.

Damned Spring Fragrantia, and with a name like that you have to ask if the band are hay fever sufferers as that would explain their DSF_Divergences_Covermassive musical irritability, go straight for the throat with brief opener Still Alive. Once fully unleashed it unloads towering rhythms and rapacious riffing upon the ear, their eight stringed guitars gnawing away with full voracity and drums cascading down like lead weights, it all prowled by the guttural squalling of vocalist Nicolò Carrara. It is short but impressively potent easily igniting an appetite before making way for the following A Common Tragedy. The opening melodic acid scrub is ok but soon left in the shadow of the tsunami of sonic vengeance from the guitars of Andrea Tinelli and Enrico Picari to follow, their flesh ripping riffs and searing melodic acid as intriguing and skilful as it is voracious and intrusive. Alone this impresses but with the rabidity of the rhythms from drummer Nicolò Ballabeni and the bass of Luca Marchi adding their distinctive and insatiable imagination to the continually twisted and scorching enterprise the song just ignites the fullest passion, and fears.

As the brilliant and lethally addictive The Obsidian Fate, a track with a hornet persistence and sonic sting to its venomous carvings, the excellent oppression that is D.M.Z, and the synapse condemning Pariah, featuring Charlie Holmes the vocalist of Heart In Hand, lay out their inventive and insidious presences and all with devil bred imagination and grooves to steal souls, the album just persistently rises to higher levels of impressive ingenious sonic spitefulness. Admittedly the surface of songs come in a similar hostility which can see tracks merge into one and pass by without notice if given simple mild attention, but add extra intent to your focus then the creativity and craft beneath the sonic squall is open and quite scintillating, it just demands extra work to fully discover.

The likes of Lost Shores, the rancour driven sonic toxin that is Drowned in Cyan, and the ravaging title track continue to bruise and sear the senses welcomingly whilst The Refusal Effect brings another immense highlight with its contagious melodic deception teasing whilst riffs and rhythms chew up and spit out thoughts and emotions with a technical vitriol and discord fuelled intensity. Imagine Meshuggah, Despised Icon, and the recently demised Livarkahil conspiring to leave your body devoid of hope and life and you get a sense of what Damned Spring Fragrantia staggeringly conjure.

With one final staggering inventive vendetta uncaged to close up the assault as the thrilling enmity that is Heritage, Damned Spring Fragrantia has unleashed not only one of the most exhausting and best debuts of the year so far but one of the best albums full stop. Divergences is plain nasty and strikingly intoxicating with its sonic and virulently malicious fumes.

https://www.facebook.com/damnedspringfragrantia

9/10

RingMaster 24/06/2013

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Utopium – Vicious Consolation / Virtuous Totality

Utopium_1

If you are looking for nasty then Vicious Consolation/Virtuous Totality from Portuguese grindcore annihilators Utopium will feed your desires and then some. It is a fearsome atrocity of sonic viciousness and intensive malevolence but equally a compelling and deceptively contagious violation of primal enterprise and howling malice. The band bring an additional brawling hateful crust and sludge animosity to their grind driven destructiveness and though arguably it takes a few listens to truly make its persuasion the album is one you cannot refuse or escape.

The quintet from Lisbon formed in 2007, making their presence known strongly at home with their first demo Rehearsal the following year and their audience wasting live appearances. A few line-up changes came across the years but Utopium has gone from strength to strength, their strongly awaited debut EP Conceptive Prescience in 2010 easily living up to brewed expectations whilst receiving impressive acclaim, and a 7” split release with Lifedeceiver the following year only enhancing their growing status within extreme metal, as did their shows alongside the likes of Rotten Sound, Misery Index, Despised Icon and Wormrot as well as festivals appearances at places like Bracara Extreme and Milhões de Festa.

Released via Bleak Recordings, Vicious Consolation / Virtuous Totality has all the armoury, invention, and ‘charm’ to lift the utopium_coverband to the next level of recognition. From the opening torrent of aural abuse of Null Rousting through to its last primal second, the album is not an experience for the weak hearted or kneed but from start to finish it leaves an exhausted but certain intense satisfaction in its place. The opener arrives through dark intimidation, its corrosive breath wrapped around a lumbering oppressive energy and pressing hungrily upon the senses. The bass offers a resonating growl alongside serpentine vocals and sonic squalls, all brewing towards the expulsion of malicious unbridled destruction. Into its now octane fuelled charge the track rips the ear apart, its riffs searing flesh and rhythms cracking bone but it is all ok as an impossibly addictive groove spines and seduces the whole annihilatory confrontation. The climax of the song returns to the intense heavy massed rummage through emotions whilst its lingering sonic farewell leads the senses right into the fury of Lodging In A Rut. It is mere seconds in presence, every one a blight upon the ear but equally a very pleasing scourge.

The song is like many, barely around long enough to blister the senses even once, though that is all most need to make a lingering impact and it has to be said that the varied range of lengths from seconds to at most four long tortuous minutes, only emphasise and brings further light the wealth of imagination and inventiveness beneath the constant ruinous attack. It also allows eighteen venomous predators to wreak real potent havoc across the sonic battlefield that is Vicious Consolation / Virtuous Totality.

The likes of the excellent Held Tombstone, with its thick black tar embrace gnawing away with each vehement driven riff and crippling rhythm soaked by punk rage, leaves disorientation and greedy hunger for more whilst the contagiously grooved Jarred Into Newtons recruits any remaining doubt and resistance with carnal bred ease, its insistent and sharply honed riff driven scything another irresistible violation.

The first nine tracks hold their own with those mentioned the biggest highlights but the Virtuous Totality portion of the release is its most compelling stance and immediately makes that declaration with the monstrous Dissolution, its carnivorous rabidity merciless and demanding especially through the throaty bass prowl and sonic searing unleashed. It is powerfully backed up by the spiteful Retrace and Rummage, all of its thirty eight seconds a scalding toxin, and the ravenous Thrive A Starch, a track which towers above the senses with leviathan intensity and iron clad metal aggression and proceeds to enflame the passions with caustic aural irreverence and undefined but unavoidably addictive grooves from guitar and bass.

The best track follows soon after in the black-hearted shape of Owner of A Kept Abidance. From an ear plundering slow vindictive consumption with vocals dripping malignancy with every intelligibly growled syllable, the song explodes into a torrentially driven flume of rancor sculpted sonics and similarly bred rhythmic abuse. It is a maelstrom of hostile intensive virulence and vitriolic grooves which are irrepressibly seductive as is its open enmity, and by far the best track on the album.

With the likes of Revamp The Disinfection and the brilliant Thin-Skinned Skill ensuring Vicious Consolation / Virtuous Totality finishes on a pinnacle of vitriol, Utopium has delivered one of the best extreme releases this year. If the likes of Brutal Truth, Nasum, Extreme Noise Terror, and Terrorizer do it for you, then this will surely thrill.

www.facebook.com/utopiumgrind

8.5/10

RingMaster 13/05/2013

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Chariots of The Gods: Tides of War

Chariots of the Gods -Tides of War official (group)

     Exploding out from the depths of the underground, Tides of War the debut album from Canadian metallers Chariots of The Gods, is quite simply sensational, a metal album of the highest order. It offers no indulgency or pretences to mislead on paper or aurally, but openly knows what it is good at and delivers those aspects with a passion and force which few other bands certainly recently have matched. Fusing diverse textures and sounds from melodic metal, thrash, and death, their music and album is simply a tour de force of metal.

Formed in 2007 by guitarist Mathieu St-Amour alongside bassist Christian Methot and guitarist Christian Carrière, the Ottawa band grew into a quintet with the addition of drummer Rich O’Neil and vocalist Renaud Jobin. Soon impressing live, the band released to very strong responses their Reverence EP in 2010. The release pushed them onto another level locally and sparked better opportunities live for the band, though the end of the same year going into the next saw the departure of Methot and Carrière. Moving forward though Chariots of the Gods brought in long-time friend and guitarist Dimitri Gervais and bassist Payam Doryani and set about laying waste with their towering sound. The band has bruised stages alongside the likes of Misfits, Voivod, Despised Icon, Kataklysm, Blind Witness, Misery Index, Martyr, Fuck the Facts, Blackguard, Neuraxis, and The Agonist, over the years and now burst into the world with their triumphant first full length release.

The Glen Robinson (Gwar, Annihilator, Queensryche, Voivod) produced album is a thrilling tempest of insatiable riffs, rhythms Tides of War - Cover - High Reswhich make demands no one should be forced to take but do willingly, and deliciously confrontational vocals. Spread throughout there is also a melodic and sonic enterprise which burns like an invigorating furnace and combined the result is one of the most impressive metal albums in recent years. Self released, Tides of War immediately from its dramatic and compelling opening instrumental Overture has a hold over the ear and thoughts. It is brief yet the perfect atmospheric lure into the epic intensity and drive of the album starting with the ravaging Seventh Weapon. The first seconds consists of thumping beats and sizzling guitar twists around the ear before expelling a ferocious breath through the squalling scowls of Jobin and an avalanche of rhythms. Now settled into its fearsome charge the track towers over the senses with the intensity and expansive reach of a storm. Across its bristling sinews and colossal breath, the track unleashes a whip lash triggering attack from O’Neil, exceptional and fiery melodic persuasion from the guitars of St-Amour and Gervais, and an irresistible raptorial vocal devouring.

As in the first full song, Blind Assassin reveals the prowling might of bassist Doryani; it is not always an aspect with as much clarity as the other elements but removed would undoubtedly leave a big gaping hole and when the heavily consuming notes find clarity of voice, the songs just bulge with impressive shadows. The third track is a less forceful entity than its predecessor with a sonic elegance which lays rough caresses over the ear, though it is not lacking any demanding spirit or heart either. It arguably pales a little against the previous track but outshines so many efforts from other artists.

Each and every track is immense and in varying degrees offers hints of the influences which vein the sound. Within the likes of Ambrosian Wings, the Russian Revolution inspired pair of the crushing Revillusion (1905) and the voracious Severing the Bloodline (1917), and the violently smouldering Red Skies, as examples, essences of the likes of In Flames, Norther, Testament, Lamb of God, and August Burns Red are apparent and add extra spice to the rich sonic menu of the band. As to be expected some songs reach the highest pinnacles and the biggest highlights on Tides of War come firstly with the title track. It is a thunderous rampage of sizzling guitar magnetism and invention driven by again the tumultuous and outstanding rhythms of O’Neil.  It is the perfect blend of aggression and melodic persuasion which chews up the senses whilst treating them to a fine dining of sonic imagination. Further lofty heights come with the senses grasping and obliterating Collapse of an Empire with its delicious spearing flames of melodic intrigue, and the corrosive and glorious Unbound which also features Aleksi Sihvonen from Norther.

The album is not just intensity and brawling aggression though as to perfectly break up the onslaught there are a couple of compelling instrumentals in the enthralling shapes of Snow Falls On The White River (1914) and Nebula, both beautiful pieces of music in their very different guises and far from interludes and fillers.

Tides of War is an exceptional creative ambush for the heart with a rage of the fullest rewards and an expressive depth of unbridled undiluted metal. You may not have heard of Chariots of The Gods before now but that is sure to change very soon as their album is exposed to the wider world.

http://www.chariotsofthegods.net/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Interview with Jonny Davy of Job for a Cowboy

With a new line-up the mighty Arizona death metal quintet Job for a Cowboy have lit up 2012 with their  magnificent new album Demonocracy. Returning with a continued evolution in musical maturity and technical excellence, the band retain their claim to being the most hostile, visceral, and exciting bands in death metal. As expected the album does not give an easy ride but is genuinely one of the most rewarding you could wish for. As ever we wanted to find out more about the album and look behind its sounds, as well as hearing more about the band itself. With pleasure we were able to do so with vocalist Jonny Davy who kindly tackled our questions.

Hi Jonny and many thanks for taking time to talk with us.

We will cut straight to the chase and the new album Demonocracy. Wow impressive, has it emerged even more powerfully than you at first envisaged?

Absolutely. We ended up changing parts and experimenting ideas within the studio. Something we haven’t really done before. I’m glad we took the time and effort to rearrange parts and hash out new ideas. We are all super happy with the product.

I admit I am no expert on the back catalogue of Job for a Cowboy but from the previous album Ruination there feels not only a distinct evolution in sound but in maturity, the songwriting and song construction especially, is that something that has been simply organic or have you worked particularly on that?

It is organic only for the fact that our motto in the bands writing system was to ALWAYS progress as a band. We are here to impress ourselves and others amongst the band. A lot of bands find their niche and safe zone, writing the same material record after record. We are entirely opposed to this and continue to enhance our sound as much as possible.

How much has the addition of new members guitarist Tony Sannicandro and bassist Nick Schendzielos, sparked the changes in the band sound?

A new lineup always sparks a fire under everyone’s ass’s. The reality is, every time we find new members we make sure that they are a step up from the previous ones. I know that it is cliché to say, but this is the strongest lineup that we have ever had, and if any of these members leave… it will be the end of Job For A Cowboy.

You are never an easy band to listen to haha, you demand a focus other death metal bands ignore but offer deeper rewards for that but with Demonocracy there is maybe a more instant aspect to parts of the music with the solos etc, would you agree?

Haha, yes I agree. I feel like this is the type of record where you really have to listen to a few times before really digesting it all.

The album and band is still as aggressive and hungry, that is very apparent on the album but is there a fine line between expanding your sound and direction ahead and losing the impact you have always brought to date to be wary of?

You know, it is hard to say. We don’t necessarily nit pick our music at that angle. We just try to have fun with it and try to make sure it is an improvement from the past.

Many bands would have used the acclaim and success of Ruination as the base for the next album but you seem to have started with a clean slate though it is still obviously a Job for a Cowboy sounding album.

I think every album for us is a clean slate. We don’t want to focus on one record and work around that. We want to keep making new ideas and stepping forward.

How does the songwriting work within the band and has it changed in any way with Tony and Nick on board?

It has changed dramatically. In the past, we always wrote and even lived together in Arizona. Now, guys live in Boston, Denver, Seattle and Phoenix. All across the United States. We had to shoot our ideas through email and home recordings. I think giving everyone space however let everyone hash out their ideas without the distractions of other members knocking them down before they could really progress.

Tell us about the theme and inspiration for the songs and lyrics.

Obviously from the title they are very political. So many bands in our genre from a lyrical perspective write about the stereotypes of death metal. Anti-Christianity, gore, death, murder… We stray away from this stuff and have a much more punk rock attitude.

You have again worked with producer Jason Suecof, he seems to have a real understanding of what you are as a band and want to bring to your music?

Jason is awesome. He has become a great friend and we really respect what he does in the studio. It is nice walking into something and know what to expect. That is why we keep working with Jason.

The album cover is immense, a welcome into Demonocracy as powerful as the music. Can you tell us about it and who designed it etc?

Brent Elliott White, who also did the cover for Ruination did this cover as well. He is an amazing artist just in the sense that you can give him so little and he can create so much with it. I gave him a rough idea on the lyrical content and he nailed it right on the head.

As mentioned you have two new members, so was the band set back a little with the departure of Bobby (Thompson) and Brent (Riggs) and can we ask the reasons for their leaving and was it something  that was on the cards for a while?

I’ll start with Bobby. He simply wanted to start the family life back at home. He actually helped write Tarnished Gluttony on the record. Great friends to this day, he just couldn’t handle the touring life with what he wanted to do at home anymore. As for Brent… Well, drugs became his first priority. He fell into the black hole of caring about drugs over everything else. He had to leave.

What was it about Tony and Nick that made you realise they were the guys to help out firstly touring and then to be added as permanent members?

We knew Nick from Cephalic Carnage, he still plays bass for them to this day. As for Tony, he was with Despised Icon for a couple years. They were both easy fits, especially from a personality perspective.

What have they brought to the music that was possibly lacking before?

Much much much much more technicality.

Has the new dynamic and ideas the two have brought in made you return to older songs with a slight re-invention in mind?

No, I think people like to hear our older songs the way they are. We don’t want to pull a George Lucas and recreate Star Wars.

I am no musician but was wondering when you bring a new guitarist in alongside the existing one is there a change required in both in regard to how they have played previously or in the existing member’s role within the already written and established songs?

It just turns into a new collaboration. We want our new members to do everything freely as they want.

One can assume you will be touring the ass off of Demonocracy?

Yes! Nonstop!

How do you think the live shows will change with the new guys on board compared to before?

A lot more energy.

You all seem to love every aspect of Job for a Cowboy but one senses the live arena is where you have the biggest thrill from?

Absolutely, we have toured nonstop for years. It is our true passion.

Too early I know but anyway what is next for the band and you as individuals?

More and more touring across the world.

Once more many thanks for taking time out to talk with us and good luck with Demonocracy, though one feels it will not be needed.

Would you care to leave us with any last words or thoughts?

Check out the new record!

Read the review of Demonocracy @ https://ringmasterreviewintroduces.wordpress.com/2012/04/04/job-for-a-cowboy-demonocracy/

The RingMaster Review 16/06/2012

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Job for a Cowboy: Demonocracy

Job for a Cowboy return with a new line-up, new ideas, a continued evolution in musical maturity, and in Demonocracy their new album, one of the most formidable releases so far this year. The sheer power and quality to the songwriting and its realisation means that even if you are not a fan or the songs within the album do not grab you the musicianship and technical excellence is still unmissable and undeniable. Demonocracy is not a put on and listen once or twice and it clicks type of release, though for many it will do just that, this album demands your focus, attention, and at times your patience before divulging the ingenuity and excellent varied construct within the brutal onslaught it consumes with.

Released April 10th via Metal Blade Records the album follows up the widely acclaimed Ruination of 2009 by moving all aspects of the sound and songwriting of the Arizona quintet forward. From listening to Demonocracy it is evident there was no temptation to rest on their laurels even a little after such a strong and deep affection thrown over the previous album. For sure the change of personal has brought a natural change, the fact that songs now contain solos and at times the guitars take the lead suggests that, but there is an apparent organic shift too, a determined intent to find a further progression to themselves as musicians and the band as a whole.

The time between the two albums has seen the departure of guitarist Bobby Thompson and bassist Brent Riggs. Their replacements have not just come in to fill the slots but from the evidence on Demonocracy have instantly added a new dimension to compliment what their predecessors and the band had already impressively created. Cephalic Carnage bassist Nick Schendzielos and session guitarist for Despised Icon Tony Sannicandro initially were brought in as touring musicians but the chemistry that was immediate from playing and the songwriting ideas they brought into the band on the 2011 Gloom EP saw the arrangement become a permanent one. Alongside vocalist Jonny Davy, guitarist Al Glassman, and drummer Jon “Charn” Rice the pair has added a different dynamic which has also created another within the band as a whole to make their new release something that grabs the attention on every level.

From the opening onslaught of Children Of Deceit, Job for a Cowboy unleash their recognisable death metal/metal power but with a fuller and one can almost say more elaborate sound and texture. The track scrapes flesh from the ear as it thrusts its muscular riffs and full intensity through seeking to consume the senses but it is veined by guitars, melodies, and technical manipulations that are as scorched and venomous as you will find anywhere.  As mentioned now solos appear on tracks and though something almost unexpected and new for the band it is an easy and impressive fit.

As always listening to Job for a Cowboy is a testing and challenging experience, they are a band that requires a deliberate focus rather than a passing listen to appreciate all their attributes and this album is no different but the new progression to their sound and the additives brought from the new members and the determined ideas of the band as a whole are openly audible and enjoyable and again understood and complimented by returning producer Jason Suecof (The Black Dahlia Murder, Whitechapel). Tracks like the excellent Nourishment Through Blood, Imperium Wolves with its excellent cello/keys ending though the song as a whole blisters and abuses perfectly, and the tumultuously intense Black Discharge, leave one numb, bruised and fully satisfied from being obliterated by a band that has found something very flavoursome to add to their already mighty sound.

Tongueless And Bound and The Manipulation Stream are the two songs that really ignited the most on the album, both slicing though the senses with technical precision whilst tearing the wounds wider with a pummelling that aches rather than numbs. Every track on the album is immense but this pair offer extra sparks from the guitar work of Glassman and Sannicandro through to the dehabilitating rhythms of Rice and Schendzielos. Davy too has upped his game on the album offering more variety to his delivery whilst still spewing and spitting the politically and socially themed lyrics as vehemently as ever.

Demonocracy will not be the album of the year for everyone as the band demand much more than most are willing or able to give with their hungry and intense sounds but it is hard to think of a death metal album as fulfilling and inspired as this for a long time. Job for a Cowboy might not be a flavour for everyone but with the new album they offer much more for many more making it at least a definite investigation.

RingMaster 04/04/2012

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Doomed From Day One Interview

14th November saw the release of a titanic debut EP from Guildford metalers Doomed from Day One. The release announced to the UK and beyond the recording arrival of one of the most powerful, impressive and creative UK bands around so The RingMaster Review wanted to find out more about the band and their music.

Welcome to The Ringmaster Review and thank you for spending time to talk with us.

Could you introduce the band members?

We got vocalist Sean Scott, Charlie Griffiths and Charlie Frederick on guitar, our bassist Eifion Sweet and finally Jamie Elsey

How, when and where did Doomed From Day One begin?

In Feb 2010 Doomed From Day One started from a post on the student Portal at uni, Sean was brought in through knowing Jamie and Eifion was quite literally found at a house party.

Is the band the first for each of you?

All our members have been in bands for as long as we have been playing.

Your sound is a diverse blend of hardcore, progressive metal and death metal to simplify it. How would you class it and did it just evolve on its own or there was deliberate intent to go in this direction?

I think our sound came very naturally and to be honest, this was inevitable due to the mass variety of influences within DFDO.

You have recently released your impressive debut The Wasted World, did it come out exactly as you envisaged or surprised you a little with its quality?  

The Wasted World came out how we wanted and we are completely stoked on what the combination of the five of us produced.

How did the writing process happen, did you have clear songs going into the studio or they were realised within those four walls?

All songs were written and finished way before we even thought of heading to the studio, we like to take time over the writing of a release to enable full confidence before having to record them.

With both elements so strong within the songs which usually comes first a riff and aggressive energy or the melodic elements when writing?

We don’t tend to think of it in that way, like our sound it really is about what comes naturally.  I think that the aggressive energy is always present and it’s more whether we start with a riff or with melody.

How difficult was it to translate your renowned live energy to the recording?

The aim in the studio was create 30mins of music that was real heavy sounding but was able to still translate all the information that is contained within each song. We didn’t really set out to transfer the energy more hoped that it would just happen. The more you try to re-create something that normally comes as second nature the less it tends to work.

You recorded the EP with Andy Hayball at The Ranch, how much input did he have to the way the tracks turned out?

Andy was great in the studio and was good at putting in little things that weren’t initially present. One of his best traits was that he was able to keep us on time, in terms of keeping to the allotted schedule.

Is it too early to be talking about an album?

No not at all we have had and have been discussing the next release for a while, although it is not going to be an album but another EP. We have already written most of the tracks for it and cannot wait to get in the studio.

Coming from Guildford it is not exactly known as a hot bed of metal or giving opportunities for bands venue wise until recent years, how have you found it as a band starting out?

I would be lying if I were to say it has been easy. It’s not really a Metal kind of town but there are kids who come to shows and we have had a lot of help from contacts within ACM.

Since you started you have shared stages with the likes of Malefice, Martyr Defiled, Gallows, Silent Screams how much did you learn from those experiences that you have used for your current tour promoting the EP?

Really just making sure that our general attitudes are in check. Networking is key so we aim to chat to anyone who gives us the time of day.

How is the tour going?

Good, it’s been good to play new places as well as meeting some new bands along the way.

Give us some insight to your appearance at Guilfest this year.

It was pretty jokes to be honest, we all regularly attend festivals and so it was cool to be on the other side of the barrier for once.

If you could choose a line-up to play with tomorrow for a show who would be on the bill?

It would have to be the people we enjoy seeing the most but I think it would be different for all of us. As a whole though we would definitely agree on playing with The Black Dahlia Murder, Parkway Drive and Despised Icon.

How about influences, who has made the biggest impact on you as musicians and as a band?

Like I said with the previous question it would be different for all of us but unanimously once again The Black Dahlia Murder has had massive influence on all of us, as well as Parkway Drive. We learnt a lot from the work ethics featured in the PWD DVD and applied them to DFDO.

What is in the near future of Doomed From Day One?

More shows really, at the moment we are just pushing to play as much as we can. The video for Pretending will be released on 7/11/11 to tie in with the Wasted World Re-launch. The New Year will bring about more tours that are currently in the pipeline as well as looking ahead to the next release.

Many thanks for chatting with us. Could you leave us a final thought or comment to help all new bands?

Stay open-minded and don’t expect anything back that you’re not willing to give. Also thanks to anyone who has come to a show, read an article and bought some merch, your help is awesome.

For info on where to get The Wasted World go to http://www.doomedfromdayonemerch.bigcartel.com/  or https://www.facebook.com/DoomedFromDayOne

 

EP review at https://ringmasterreviewintroduces.wordpress.com/2011/10/02/doomed-from-day-one-%E2%80%93-the-wasted-world/

RingMaster 02/11/2011

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