I’ll Eat Your Face: Hot Brains Terror


Just the title Hot Brains Terror alone had anticipation firing on all cylinders as the latest album from Irish metallers I’ll Eat Your Face lay waiting to be investigated. It ignited hopes of a sonic creature feature type release, an album casting horror soaked manipulative fingers upon the psyche and it did not disappoint though it exceeding all wishes with its sensational  encounter. The album from the Cork duo is a delicious creative incursion upon the senses which fires up a furnace of passion towards its startling sounds.

Released on Grindscene Records, Hot Brains Terror is the second album from the band and an insatiable corrosive triumph of grindcore or as the band self declare “supergrind”. It employs extra noise, psyche additives, and more to bring a unique and explosive collection of tracks, each stirring up hunger and unbridled enthusiasm for more and more.  Consisting of guitarist The BOY and drummer Barrytron, the release is made up of nine rabid raptorial instrumentals gripping and twisting thoughts and senses out of shape whilst thrilling them with glorious corruptive sonic imagination. Formed in 2006, I’ll Eat Your Face has earned strong acclaim through numerous split, EPs and releases reaching a pinnacle with previous album Irritant. The new album is another step up in quality and sound which you can only imagine the attention and acclaim around it imitating.

The first thrill is opener Weasel Tank Slime, the track emerging from a swamp ambience to unleash badgering rhythms and psychotic sonic teases from the guitars. It is a schizophrenic joy which in its slightly longer than a minute presence is too short such the pleasure given, though the band takes no time in bringing an equal contagion to the ear with Acid Worm Monsoon. This track is a caustic dance with the senses driven by ravenous snarling riffs within scorching sonic fires and seeping smouldering melodic glaze, and stunning

As the likes of the insidiously shadowed Brainwolf: Revenge of the Priest which just demands ardour with its irresistible playful groove within the corruptive dark of the song, Drowning Dogs in a Swamp with a presence and energy as unpredictable and intimidating as the sounds it uses to subjugate the heart, and the blackened  Enslaved by the Prawnmaster grip with inventive and boundary stretching enterprise, the album elevates itself to what one can only declare as classic status. It would have taken a car crash of a second half to knock the release from this early pedestal and of course that was never going to happen.

Reverse Eagle Embeastment is a perpetual swash of acidic light and magnetic brilliance from both members of the band, the rhythms a crusading adventure within the blustery sonic squalls of the guitar, and a glorious union. The majority of the pieces are short which ensures tracks never come near to over staying their welcome though arguably they also depart too soon. It is certainly not a negative though just evidence of how greedy and devoted to the immense creativity and unpredictability to each song one becomes.

The album is completed by the excellent track The Eels of Love Lake, the even more outstanding Castle of Vomiting Owls, and the titan of a closer Forever Sealed in the Electric Brains’ Melting Slug-Ray. Again each song shows the impressive diversity across the album leaving one breathless and basking in their challenging and enthralling imagination. The first of the final trio is an incessant hypnotic layering of serpentine textures alongside niggling sonic rubs which just leaves one transfixed whilst the second gnaws away at the senses, tearing their surface asunder though not before luring one in with seductive melodies and soothing caresses. Now deeply tucking into its victim the track further lashes the remnants with spiteful groove laces for a totally bewitching experience.

      Forever Sealed in the Electric Brains’ Melting Slug-Ray closes the album with a final disturbing nightmare complete with bedlam screams and primal carnage masquerading as riffs. It is a mighty end to an equally immense album. Certainly a release for fans of bands like Pig Destroyer, Cephalic Carnage, and Devilman, Hot Brains Terror stands as the best instrumental album of the year alongside 7th Direction from Stinking Lizaveta, and to the fore of all releases.


RingMaster 11/12/2012

Copyright RingMaster: MyFreeCopyright

Devilman: Self Titled

Beauty comes in many forms and shapes, it can be gently unassuming ,strikingly up front or in the case of the self titled album from noise abusers Devilman it can just be plain destructive. Actually what they create defies beauty but is just as compelling and magnetic as any seductive vision or touch. Consisting of eight nasty merciless tracks, the album is stunning, a corrosive infection which leaves you struggling for sanity whilst basking in a pool of blood from its ferocious sonic confrontation. Bringing the devastating industrial sonic violation of The Devilzwork in to a union with the inventive towering sounds of Morkobot spiced by the insane bedlam of Melt Banana, plus plenty of dub ingenuity to unsettled any balance which might try to settle in, Devilman creates sounds and experiences which are unique and unrelenting, and quite irresistible.

Devilman is the weapon of mass delirium from a trio of London-based Japanese musicians. Shigeru Ishihara on bass heads the noise terrorists ably aided by the savage drum programming and dub control of Gorgonn Amanita of Dokkebi Q and the psychotic squalls of vocal manipulation of Taigen Kawabe from the band Bo Ningen. Following their recent introduction to the world through the track Bakan Q and its Hiroo Tanaka aka Inumikaku directed accompanying short film, the band and album treats the passions to a fury of unbridled invention and violence. Released through Small But Hard Recordings, the album is glorious, the reason pain and pleasure was invented.

The previously mentioned track opens up the synapse twisting sonic impregnation, it alone easily bearing an unadulterated passion for its ingenious corruption. Sometimes you immediately know when something is right for ear and heart and this is one of those times. Right away there are the babbling bedlamic vocal squalls of Kawabe accosting the ear, his unintelligible but textured manic mischief the cause of the Melt Banana comparison earlier though even they would struggle to find the same delirious asylum destined might. Thumping beats duel with and punctuate the vocal storm and blistering ambience brewed and finally unleashed. As it expands the drums and rhythms just swell in sound and effect whilst the harmonic whispers temper the slowly stomping and ravenous energy of the track. It is a storm of abuse but holding a restraint and mercy which is less willing to appear elsewhere on the album.

From the staggering start Elephant Dub steps forward to offer a settled rhythmic and weighty presence, its insistence incessant and intense though again not an unbridled greedy assault. It is a constant thumping upon the senses which resonates like a jackhammer and as it passes over to the following 21 Seiki Dub an audible sigh is impossible to squash, not that the new piece of inspiring enterprise is going to let one off the hook. It simply replaces the massive rhythms of its predecessor with its own threatening rhythmic abuse just in a different tone. The track is masterful, a bewitching mix of aggressive rhythms and sonic majesty, if anyone says there are no true melodies within the album this track is the proof to the contrary. It is an intriguing and imaginative piece which evokes visions and sucks the senses into a maelstrom of energies.

The emotive dark wave  chills of Ross with its haunted organ ambience does not quite match the tracks around it but makes for a provocative track all the same whilst Noise Step is an industrial abrasion without any melodic sonic lubricate to sooth the generated bruising. Harsh and unforgiving the track scorches with every note, if they can be accused of being such, whilst burning up the atmosphere to suffocate any chance of a reprieve from its suffocating splendour.

The unique and welcome vocals of Kawabe return firstly with the excellent 93, a track which is like being violated by a whole steel works, and Nirvana Dub whose only intent is to see how much innovative caustic vehemence you can endure, not that a limit is in place and there is a safety word to escape with. It has to be said that as great as every track truly is, when Kawabe adds his maelstrom of vocal sounds a song finds another immense personality to add to an already existing wealth of facets.

After the creeping industrial teasing of Tunnel Dub the album sets free its biggest act of devastation in the brutal Last Black Emperor.  The track chews up the senses from start to finish, its deeply drilling sonics churning up flesh and feelings, its static acid burning every hope of relief and respite within its opening seconds. It is a banshee squall which leaves mush in its wake if you never suffered from tinnitus before will surely induce its onset.

If noise annoys then give Devilman a wide berth though you will be missing out on one of the real highlights of the year, simply an outstanding album from a quite exhilarating band.


RingMaster 05/11/2012

Copyright RingMaster: MyFreeCopyright