Quantum Leap – No Reason

Creating a tantalising yet portentous fusion of post punk and garage rock, Swedish trio Quantum Leap make their major entrance with a debut album which through its dark climes and apocalyptic tones makes for one hungrily infectious and enthralling proposition. No Reason, in the words of its introduction, “invites you to a heavy and dark feast celebrating the very last setting of the sun”, a beckoning as arousing as it is threatening.

Hailing from Uppsala, Quantum Leap consists of vocalist/guitarist/keyboardist Björn Norberg, bassist Andreas Hennius, and drummer Mats Gustavsson. With a diversity of musical backgrounds taking in thrash, death and black metal, electronica and pop, the three came together in 2014. A demo was released in 2016 after the band linked up with producer Tomas Skogsberg of legendary Sunlight Studios (Entomed, Refused, Backyard Babies, Dismember). That led to a contract with Swedish label Viskningar och Vrål (Whisperings and Growls), who now release the fiercely magnetic No Reason, the release again seeing the trio working with Skogsberg and featuring guest musicians in Lea Martinelle (saxophone), Rosa Kristalova (cello), Mattis Fredriksson (accordion), Daniel Söderberg (on modular synthesizer), and Janet Simmonds (backing vocals).

It opens up with That’s The Reason, a swiftly compelling trespass of post punk bringing an initial menace of sound before rumbling through ears on a rhythmically driven stroll wrapped in sonic dissonance. Norberg’s vocals, as strong and magnetic as the web of sounds around them, are soon accentuating the lure. It is a dark, suffocating, and invasively heavy confrontation but inescapably contagious with echoes of eighties bands such as Joy Division, Play Dead, and Leitmotiv to its rasping winds.

It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.

With an even darker climate Blind comes next, the track a calmer but equally emotionally and atmospherically invasive proposal. It offers a more art/alternative rock spicing with not for the last time within the album a Bowie-esque hue which only adds to its persuasion before Yeah sees the band embrace a metal lined garage rock flavouring with matching success. The diversity within the band’s sound is in full swing at this point, each song revealing a new shade and flavouring to keep things unpredictable and intriguing. Trust quickly backs this variety up with its seventies psych toned dark rock. Though all uniquely different, the quintet of tracks so far all slip perfectly alongside each other, the alluring overall Quantum Leap voice uniting their eclectic characters.

The Fiction In The Daily Life bounds in with a mix of garage punk and heavy rock straight after; the excellent track swiftly stirring up attention and pleasure while Sea repeats that tempting straight after with its again Bowie reminding saunter. There is a definite Heroes like feel to the track which maybe does not lead it to impress as some of its companions within the album but only richly pleases within its fuzzy climate.

Through the bruising and hungrily rousing rock ‘n’ roll of All I Ever Wanted and the Bauhaus meets Wire like gothic/post punk air of I Don’t Know attention and enjoyment only escalated, both tracks unsettling magnetism while Dreaming taps a poppier gait to its darky lit romancing to equally attract. A bit like a blend of Modern English and Modern Eon with once more that hint of Bowie, the song entices from start to finish.

The album concludes with firstly the groove wired heavy punk ‘n’ roll of Mayday and lastly the senses consuming, imagination sparking sonic tides of Like A Memory From A Long Time Ago. With a melodic Skids like current ebbing and flowing in its infectiously sinister but thickly alluring ominous waters, it is a last entrapment for the suggestively impending apocalypse and another sepulchral proposal which is quite irresistible.

Quantum Leap have uncaged a debut which simply demands attention of the band and their dark foreboding layered sound…so stop reading and go explore.

No Reason is out now through Viskningar och vrål.

https://www.facebook.com/quantumleap2/

Pete RingMaster 06/06/2018

Copyright RingMaster: MyFreeCopyright

Six Reasons to Kill – Rote Erde

Six Reasons To Kill Promofoto 2015_RingMasterReview

Six Reasons to Kill has a sound which is bred from the cancerous depths of death metal and metal/hardcore, an assault and corrosion of the senses which has been increasingly brutal and ravenous over the years. The German quintet calls it Darkside Metal and it is in full rabid force on the band’s new single, Rote Erde.

Formed in1999, The Koblenz hailing band has evolved and defined their raw and voracious sound across five albums as well as a handful of singles and split releases. Lyrically they have become BE094 Six Reasons To Kill - Rote Erde Cover_RingMasterReviewjust as imposing and uncompromising with themes of social issues, war, racism etc. fuelling their attacks. 2015 saw Six Reasons to Kill undergo a significant line-up change. It has not slowed them down though, instead it was an issue which has seemingly only opened another vat of malevolent intent and ferocity in their music if Rote Erde is the sign of things to come.

From its opening breath, the track is a wall of hellacious rhythms and wiry grooves for a murderous yet fiercely enticing welcome. In no time, the predator within is in control, bestial intent and intensity colluding with the incisively ravenous riffs and alluring hooks from guitarists Marco and Loc as well as the thick rabid rhythms of Christian and Sven. With Daniel’s insatiable growls and spleen venting animosity the instigator of even greater antipathy, ears are inescapable victims and the imagination, with the emotions, greed driven devourers of the corrosive treat.

The track leaves exhaustion and lustful reactions in its wake, confirmation that the changes have only inspired Six Reasons to Kill to new vicious treat and adventure, which in a different way continues in the accompanying Of Fire, a rousing cover of the Dismember track. The band has not fiddled with it in any big way but their fresh belt of creative savagery alone offers another appealing shade of hostility to the encounter as it completes a thoroughly enjoyable and bruising release.

Six Reasons to Kill are darker and fiercer than ever before yet it feels like they have only just begun exploring this new wealth of brutality. Should we rejoice or run in fear?

Rote Erde is released March 11th through Bastardized Recordings on 7″ vinyl coming in three limited-edition colours available @ http://shop.bastardizedrecordings.de/index.ph

http://www.sixreasonstokill.de/   https://www.facebook.com/SIXREASONSTOKILL

Pete RingMaster 10/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Razoreater – Vacuum of Nihil

razoreater_RingMaster Review

According to their bio, UK grindsters Razoreater formed in 2011 with “the hope of writing the most misanthropic, abrasive music they could.” It is fair to say that their aim has certainly been achieved within new EP Vacuum of Nihil. It is a five-track scourge of noise and cynical emotion; an animus of intensity and raw sound violating every pore as it ravages the senses. Belying its corruption though, is a nasty virulence springing from the fusion of hardcore punk, d-beat, grind and metal, an infection which keenly incites involvement as its body viciously abrases.

Hailing from Peterborough, the quintet of vocalist Ben Rollings, guitarists Sam Gollings and Stephen Pickles, bassist Sam Holmes, and drummer Luke Thompson have drawn on inspirations from the likes of Napalm Death, Rotten Sound, Pulling Teeth, Dismember, and Entombed in the creation of their individual pestilence of sound. They create a provocation which has seen Razoreater earn strong support and reputation through their releases and live within the underground scene, one now threatening to break out into wider attention with Vacuum of Nihil.

Art12inch__RingMaster Review   Nailbombed is the first rabid trespass on the senses; a sonic breeze initially building around a vocal sample before an eruption of hellacious intensity and rabidity. Guitars scar the air as vocals match their animosity in raw kind upon ears, their turbulence stalked by predatory rhythms and an underlying abusive swing which just recruits the appetite. It is a ruinous confrontation quickly equalled by the following I, Dreadnought, its debilitating unbridled fury quickly showing itself insatiable in animosity and sonic ferocity. As the first storm though, at its core a rock ‘n’ roll psychosis as infectious as it is venomous is laying riotous enslavement within it all.

Both of the opening pair of tracks goes for the jugular but there is more to the Razoreater predation as shown by Bloodeagled, the cancerous invasion crawling over the listener with primal, sludge thick enmity. It too unlatches the gate to unrestrained full-on assaults but the cold and harsher lumbering moments bring new and flavoursome scarring rewards for those braving the murderous affair.

A rampant sonic and vocal rancor drives Wrath next. Flesh flaying riffs and scathing syllables are the fuel to the scavenging proposal with irresistible grooves the tempting scenery within an evolving soundscape of bad blood and creative ill-will. There is no mercy from or escaping of the song’s blistering tirade or that of its successor and closing violation Filth Scheming, Shrill Screaming. Another venomously jaundiced onslaught, the track is a minute and a half of punk pain and gripping danger which eventually content that its barbarous incitement is done unleashes another minute or two of senses smothering black drone hued noise.

It goes without saying that Vacuum of Nihil is going to be a sonic malefaction too far for many but also a delicious infringement of the psyche for others. There is only one way to find out of course, to allow Razoreater to trespass.

Vacuum of Nihil is available from January 13th via WOOAAAGH and Skin and Bones Records on one-sided 12″vinyl with a limited edition of 500 yellow/black marbled copies with etched logo B-side, 12″ insert, and download code and at https://razoreater.bandcamp.com/album/vacuum-of-nihil

https://www.facebook.com/razoreaterhate/

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Arbitrator – Indoctrination of Sacrilege

ARB_COVER

If you speak to the right people there are always good, often great things said about any new and emerging band. The confirmation is always only in the music of course and just as often as words are proven, anticipation is left in unintended deceit. Arbitrator since the release of The Consummate Ascendancy EP in 2011 has been a band often talked up and recommended from certainly Canadian and North American sources. Their debut album Indoctrination of Sacrilege is our introduction to the quartet and all promise and suggestions of their growing might have been convincingly proven.

Indoctrination of Sacrilege is a beast of a release, an intensively atmospherically soaked death metal bred proposition which from making an impressive first impression grows into one striking and fascinating theatre of imagination. Fusing in textures and essences from electro and industrial climates to progressive and ambient flavouring, the six track release engulfs and stirs ears and thoughts with skilled and increasingly rewarding adventure. The band itself is the brainchild of Robert Kuklaand, its emergence starting in 2010 and announced by the release of The Consummate Ascendancy the following year. It was an acclaimed proposal from the band but just a tester in many ways for the exploratory might of Indoctrination of Sacrilege. With a line-up of Myles Malloy (lead guitar), Connor ORT Linning (programming), and Soilwork drummer Dirk Verbeuren (ex-Devin Townsend Project, ex-Aborted) alongside Kuklaand (rhythm guitar, bass, vocals), Arbitrator put themselves forward now as one of the more intriguing and exciting progressive death metal prospects. They also still feel like they are still only just scratching the first few layers of their potential despite the weight and success of their album, a potential and prospect of even greater things ahead quite exciting.

The Sacha Laskow (ex-Divinity, Every Hour Kills) produced and Jens Bogren (Opeth, Katatonia, Amon Amarth, Arch Enemy) mastered album, swiftly has the imagination engaged as the entrance of opener They Will Worship This Fire of Agony comes through scenery of portentous bells and death feasting flies as church seeded chants seemingly offering final guidance as a dark pestilential cloud looms nearer and nearer. That sonic threat is realised a muscular wall of riffs and punchy rhythms veined by enchanting keys. It is an immediately incendiary and compelling persuasion enhanced by the guttural growls of Kuklaand and spicy persistent grooves. Samples are soon briefly mingling with the cavernous presence and intimidation of the song too but it is the infectious hooks and melodic winery which most captivates against the evolving and enlarging drama of the keys. It is an imposing and enthralling encounter, and as the album subsequently shows itself to be, a pleasingly unpredictable one.

The potent start to the album is solidly continued by Stillborn Bastard of The Nazarene, it straight away binding the appetite with intensive riffs and rhythmic swings whilst thoughts are provoked by its atmospheric colouring. Kuklaand again impresses as he binds words and syllables with a gripping impassioned tenacity which provides additional potent focal points amidst many on release and track. Samples and keys again paint additional inciting scenes in the ferocious and threatening landscape of the song, though it is the superb melodic enterprise of Malloy which steals more of the glory.

Through each song the album just gets better and creatively bigger, the next up For That Which May Appease Lions unleashing black hearted rock ‘n’ roll in a hellacious offering of grooved and addictive contagion aligned to corrosive and oppressive malevolence. The track transfixes from its first moments, the predatory nature and sound of the bass a delicious stalking within the maelstrom of rancor whilst clean vocals add a different shade of temptation to the voracious soundscape. Keys and guitar endeavour similarly vein the tempest with their own unique and engrossing narratives, everything seamlessly flowing and combining together to enslave ears and imagination. Unpredictability is rife across the track, and reveals more twists and subtle ideation with every listen, an exciting trait just as potent in Serpent of The Styx. The song’s electronic opening is a melodic drift of keys and radiant melodies yet it all comes with a solemn and melancholic charm courted by a slowly brewing dark side. An eruption of that heavy menace is eventually unleashed yet the song still continues to radiate melodic expression within a web of carnivorous grooves and enjoyably volatile rhythms. There is also a cinematic ambience to the track, its ‘warmer’ and calmer moments apocalyptic in suggestion as the track’s muscular and rabid side trespasses and challenges the senses. As its predecessor, the track is a mouth-watering incitement which just gets more addictive and anthemic with every passing minute, hook, and barbarous swing from Verbeuren.

       Profaned and Perfected whilst not quite matching the heights of the previous two tracks, has its own persuasive agenda of spiny grooves and spiky beats to contemplate, and an anthemic swing to drool profusely over. It is an out and out death metal ravishment but also one unafraid to explore warmer climes through the often spellbinding invention of the industrial spiced keys and climactic guitar. The song is still a bruising and commanding predator keeping body and emotions invigorated and fearful before the ‘epilogue’ like instrumental adventure of The Burning Sands of His Kingdom brings the album to a fine close. The electronically driven piece draws a cold and stark wasteland yet equally suggests hope with its melodically epic and intimately expressive tones within rugged scenery.

Over a handful of listens in and there is still more revelations coming forward within songs as Indoctrination of Sacrilege continues to reward, that in itself a strong reason with the diversity of sound and invention to check the album out. Wrapped in the excellent artwork of Colin Marks (Exodus, Scar Symmetry, Jeff Loomis), the release has been suggested for fans of Bloodbath, Dismember, and The Project Hate but also it is easy to suggest that those with a taste for bands such as Opeth, Mercyful Fate, and Escapethecult could do far worse than taking a plunge into Arbitrator and their first album.

Indoctrination of Sacrilege is available from February 13th @ http://arbitratorofficial.bandcamp.com/album/indoctrination-of-sacrilege

https://www.facebook.com/Arbitratorband

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Carnation – Cemetery of the Insane

p1997g3bj11dkq1aqh1ivbt341cnq4

Old school in breeding but stoked by a creative voracity which roars with modern hostility, Cemetery of the Insane, the debut EP from Belgian death metallers Carnation is an introduction all fans of extreme metal will want a slice of. Consisting of six tracks which savage the senses and ignite the imagination, the release has every essential death metal essence in compelling abundance, but twisting them into its own not dramatically original but certainly refreshingly inventive designs. The result is a bestial onslaught to fearfully embrace and greedily devour.

With a name seemingly inspired by The Carnation Massacre, a mass murder occurring on December 24th 2007 near Carnation, Washington, the Heist-op-den-Berg band was formed in 2013 by guitarist Jonathan Verstrepen (Incinerate). Swiftly bringing in bassist Yarne Heylen (Decross), guitarist Bert Vervoort (ex-Decross), vocalist Simon Duson (Prematory), and drummer Morbid (The Reckoning), Carnation set about their intent of bringing old school death to the Belgian metal landscape. Embracing both Swedish and US influences, as merged impressively on Cemetery of the Insane, the band has stepped forward on its back as one new and exciting proposition in not only the Belgian but European extreme metal scene.

The release opens in the dank cellars of Explosive Cadavers, flesh and bone being quietly but openly devoured before the song, with cinematic might, reveals its portentous drama. Once the scene is set, guitars snarl and descend on the senses with instantly contagious and addictive riffery, bait matched potently by the grizzled might of the bass and the sonic grooving holding ears. The track swings along but has greater intimidation and hostility waiting in its air, a threat which frees its restraints for a nastier twist in the nature of the song before entwining both for the rest of the encounter. It is a scintillating start, the excellent vocals of Duson as guttural and insidious as you would wish yet with a quality allowing clarity to the narrative, whilst the venomous rhythms of Morbid take no prisoners whilst casting their anthemic baiting. Similarly the sonic enterprise of the guitars is as invitational as it is corrosive, everything aligning for one virulent insidious persuasion.

The EPs title track is swiftly at the jugular next, Cemetery Of The Insane rampaging with hostile fervour yet also instilling a predatory prowl within its tempestuous walls. The song stalks carnationand seduces the senses with the strong mix of vocals and guitars continuing to impress with just as instinctively barbarous invention. Further lust is dragged from song and appetite by the throaty bass growl and already by this point it is hard not to be enslaved by song and release, especially once the tendrils of sonic colour and the increasingly insatiable torrent of sharp grooves and bruising riffs add their persuasive weight to the temptation.

Both Rituals Of Flesh and Delusions Of Power keep the impressive intensive provocation soaked in venomous and gripping animosity, the first of the two managing to be nastier than those before in touch and sound yet just as imposingly infectious and inventively magnetic. The track almost dances with its rhythmic rabidity and destructive tendencies, revelling in its bloodlust and sonic nagging whilst sculpting a pinnacle for the release. Its successor without quite matching its toxic majesty has its own blistering sonic tapestry of raw riffs, spiky grooves, and bass predation to share, resulting in another seriously enthralling and incendiary ravaging to thoroughly enjoy.

The Great Deceiver closes things off; it’s more restrained and sonically colourful entrance the scenery to oppressing shadows and subsequently, a torrent of abrasing riffs and searing melodic endeavour. As the excellent final foraging of ears and psyche shows, though tracks may not surprise with knee buckling effect there is a great unpredictable trait to them which keeps the listener intrigued and unsure of what is on the encounter’s near horizon.

Definitely a must for all with a taste for the likes of Entombed, Dismember, Gorguts, Autopsy, and Entrails amongst many, Cemetery Of The Insane should be heading all must check out lists.

Cemetery Of The Insane will be available through Final Gate Records digitally and on CD/vinyl from February 6th via https://finalgaterecords.bandcamp.com

https://www.facebook.com/CarnationBE

RingMaster 05/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

ssSHEENSss – Strapping Stallions

20140715-IMG_1100

It might be hard to be convinced by the band name but there is no such issue with the new album from Finnish heavy rockers ssSHEENSss. The band’s second full-length, Strapping Stallions is a compelling beast of a proposition, riffs and rhythms as cantankerous as they are aggressive yet there is an eclectic devilry across the release which aligns itself to a gripping inventive craft, it all resulting in an album which is resourcefully unpredictable, mischievous, and most of all great fun.

Formed in 2011, the Hamina sextet set to work on their self-titled but album at the tail end of 2012 with producer Billy Anderson (Eyehategod, Mr. Bungle, Melvins, Neurosis), before unleashing it on the world to eager reception in the February of last year on guitarist Harri Pikka’s own label Stabbing Records. It was an attention grabbing stomp and sound but one which between albums has evolved into an even more muscular and ferocious tempest of stoner bred sinew sculpted rock ‘n’ roll. Early this year the line-up of vocalist Mikko Kiri, bassist Edu Lethal, drummer Juho Harjula, and the triple strike of guitarists made up of Pikka, Porkka and Muhli, hit the studio with a new horde of songs. Mixed by Tomas Skogsberg (The Hellacopters, Dismember) and mastered by Brad Boatright (Sleep, Corrosion of Conformity, Beastmilk), what emerged was the riveting and virulently contagious Strapping Stallions.

The accompanying press release announces that the album and its sound is something fans of Turbonegro, The Hellacopters, and ZZ Top will want to devour, something easy to agree with though that is only one shade of the diverse flavouring of the encounter. Opening track Adios, Fucker! for example pungently reminds of Troublegum era Therapy?, and as the nine tracks come and flirt with ears and imagination plenty other references come to mind, though they cannot defuse the potency of originality also spewing from ssSHEENSss. The opener is an instant wall of thumping rhythms and predacious riffs, all sides of the song converging on ears with an irritable tenacity. Employing essences of punk and metal to its keen and voracious, the stormy treat as mentioned easily reminds of the aforementioned Northern Ireland trio but also with its melodic sultry swagger hints at the likes of Mondo Generator. It is a riveting and thrilling start to the release, honest rock ‘n’ roll with little need to add over the top flourishes but allowing guitars and rhythms to craft a compelling web of highly infectious baiting.

The excellent opening is not matched by a cover of ZZ Top track Concrete And Steel, though to be fair ssSHEENSss twist it into an individual incitement of their own with resourceful imagination. It is a more than decent encounter but ssSHEENSss_strappingstallions_800x800px_weblacks the spark and in the face potency of its predecessor, something the next up You And Your Daughters is more capable of. Bluesy grooves entwine ears straight away as beats jab powerfully across their fiery coaxing. With vocals and riffs joining the swift temptation on feet and emotions, it is a rigorously inviting opening accentuated by sonic flames searing the magnetic spine of the song. There is also a seventies hard rock breath to the caustic sound fuelling the proposition, a lure which easily secures full attention and appetite but it is the mid-way twist into a bordering on bedlamic post punk/garage rock venture reminding of The Three Johns, where a great track becomes an outstanding one.

The equally stunning Voice Distortion Call with its heady and weighty intimidation of air and power sparks another lustful wave of hunger for the release, its Queens Of The Stone Age like devilry a sonic toxicity impossible to resist. With grooves and a sonic colouring you can almost physically taste such its spicy twang, the song is a gripping slab of stoner bred ferocity; a track as volatile as it is creatively composed. Another lofty highlight of the release, it is followed by the more classic metal toned Wolf Street Blues where that earlier Turbonegro comparison comes in handy. It is an easy going and undemanding proposition but keenly contagious and enjoyable providing another flavoursome turn in the diversity of Strapping Stallions.

Shadow Animals with its anthemic rhythmic thumping and corrosive riffery sets the fires in the passions burning bright again, its virulent hooks and Kiri’s vocal prowess irresistible amongst nothing but inescapable enticements. Imagine Mastodon meets again QOTSA and you get a sense of the adventurous climate and canvas of the song explored and set ablaze by the band. Its successor Let’s Explode does not quite match its triumph but still provides a lively smoulder of stalking riffs and classic rock soaked sonic endeavour to eagerly embrace. With at times a southern lilt to chords and heated harmonies from vocals, it is an enthralling offering, though it and its predecessor come nowhere close to the brilliance of the next track.

It is rare to call a cover the best track in a seriously impressive release but the band’s version of Love Will Tear Us Apart is sensational. Easily the best version of the track since Joy Division’s own unleashing, the band turns it into a new depressive seduction giving riffs a more carnivorous growl and beats antagonistic agility which lies perfectly with the pulsating throat of the bass and the melodic toxins which seep from every chord and twist of guitar. Even the vocals make a dramatic statement, Kiri managing to hold onto the cold emotion of Ian Curtis’ unique delivery whilst adding further expressive twists. It is pure dark majesty leaving Saigon the unenviable task of following and closing up the album, which it does successfully with its own anthemic rhythmic lures and melodic rabidity creating a song which whispers Eagles of Death Metal and Kyuss meets Melvins.

It is a great end to an exciting release which in some ways might even have missed a trick or two to become a modern classic. Nevertheless Strapping Stallions is another firm treat for the year and ssSHEENSss a band with a dodgy name and a natural ability to create exceptional rock ‘n’ roll.

Strapping Stallions is available via Soulseller Records on 3rd October

www.sssheensss.com

RingMaster 03/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Screaming Finalities: an interview with Jimmy Lundqvist of Entrails

entrails

From a ‘false start’ in the early nineties Swedish death metallers Entrails was resurrected by founder and guitarist Jimmy Lundqvist fourteen years later and since then has made an impressive mark with its old school seeded sounds and releases such as second album The Tomb Awaits. New album Raging Death builds on the might of its predecessor whilst twisting the existing malevolence into new tortuous and compelling exploits. Seizing on the chance to find out more with Jimmy we asked about the history of Entrails, the album, and moving through early setbacks.

Hi Jimmy and welcome to the site, many thanks for taking time to talk with us.

You have just released your new album Raging Death, how are feelings in the Entrails camp right now and how have initial responses impacted on you?

Hi

We are doing just fine here… It all feels great and we are satisfied with everything so far.

Do you get nervous before releasing an album or is it all excitement?

A little bit of both I would say…

Though this time all excitement was gone a few weeks before the release when there was downloading links everywhere on the internet. That ruined all the fun with the release and every hour and minute we had to use in making this album. I know it’s the modern era now and every band have this problem but it’s a fucking shame that they don’t have any tools to stop this illegal shit.

Before we talk more intently about the album can be look at the history of the band for those new to you. Entrails formed in 1991, what was the spark and inspirations behind the birth of the band?

Well. The boom of the DM bands that came around in the early 90´s and the down tuned guitars and with those riffs and atmospheres… That was Christmas to me… I was completely sold in that style, and there was no doubt in what we were going to play.

This period of the band did not work out and was only around as a working project for around three years, what were the problems which brought the band to a close at that point?

Many things. Crappy recordings, lack of interests, money, contacts, living on the countryside, you name it… Everything was going against Entrails sort of. If we only had managed to make a proper demo I think things would be different… though the dudes in the band back then would have quit anyway as they didn’t have the passion for it as I had. And living so far away from the musicians there was no other options than put it into sleep

Did the frustrations at the time bring lessons and help shape not only the second coming of the band years later but your endeavours between the two periods of Entrails?

Hard to answer as I wasn’t thinking in that direction. But I was more grown up in the second coming and had more focus on the music and a goal to have my demos recorded as they should be.

In that ‘hiatus’ for the band what were you up to musically?

Well… I listened a lot to my influences and tried to follow the music that was made after I quit playing myself. But I didn’t like the new stuff and where the DM was heading so I stopped following that and become more and more stocked to the old stuff. Of course there were new bands coming and they got my support but still the modern shit was not my cup of tea!

2008 saw Entrails resurrected, what was the trigger to this?

Nostalgia and I wanted to record my old music properly. That was the main reasons.

Was it an easy decision to try again or was there some reticence at first about bringing the band back?entrails 2

Not really…It was pretty easy, but I didn’t think of having the band in full scale, only to release the songs as demos or whatever. But when label and organizers wanted us for shows I had to make it complete. And I haven’t regretted a single second about that.

Tell us about the years between steeping back into Entrails and the release of the excellent The Tomb Awaits of 2011, where we first came across you actually.

To make it short; I made those 2 demos in 2009 “Reborn” and “Human Decay” and signed to the label FDA Rekotz winter 2009/2010, then we made the first full length “Tales from the Morgue that spring and we had that one out in the summer 2010, then after that we recruited Adde for the permanent drummer and off we went on a small tour in Germany in November. Then we dealt with labels the whole winter but finally FDA got our signature once again and the work with “Tomb Awaits” could begin.

How have your sound and ideas changed for you since bringing back and reworking tracks for your demo Reborn and the songs seizing the senses on Raging Death?

The sound on the demos was mixed by me…and then I was a complete amateur in doing such so the sound became very thin and didn’t have that punch as I wanted. And after that and when the real albums was going to be made things had to be changed and I contacted Dan Swano at Unisound to do the mixings and from that day he is the guy who does what we want in the sound.

Are there any seeds from your earlier period of songwriting within the new album like previous releases?

Yeah. There are some parts here and there… for an example, ‘Bloodhammer’ is actually the first DM song I made back then. But now it’s a bit longer and have some more stuff added, and also a new title.

As the new album shows you still source your inspiration from the early nineties seeds of Swedish death metal, are you open to other influences though within your creative sparks for songs or intently stay within its influence preferring to expand its particular barriers rather than look into new areas?

Well. Yeah. I have influences from all kinds of stuff… but mostly from the era between 1983-1995. Bands as Helloween, Accept, Iron Maiden, Slayer, Metallica and you name it. The list can be long… it wasn’t´ until 1990 and when I heard DM for the first time I was going on that path

How does the songwriting work within the band now with its stable line-up and creative members?

I make the music into a basic demo and when that´s done the rest add their ideas and changes and from that we rehearse the song into the finish mode. And if lyrics are missing they will be added.

Was the recording of Raging Death approached differently or an experience different to that of Tales From The Morgue and The Tomb Awaits?

Hmm…no… we almost did exactly the same in the recording progress…used a local studio for the drums and then my own studio for the rest and then Dan Swano did the mix/mastering so it was almost the same. Don’t change a winning concept someone told me!

406773_10151479179820238_566315600_nIs there an aspect or moment of Raging Death which gives you particular glow or tingle inside?

Yeah. There are some parts on each song that makes me in a better mood than others but´s only happens in my head. Like perfect changeovers or riffs that really bring your neck swing.

The album feels like it has a stronger snarl and impact in its production than previous releases. Would you agree and if so was it a determined intent or just naturally came about?

That’s cool if you think so… and mostly the album came out naturally so I didn’t have any spectacular or driven goals in it. Many things happens when I sit and record stuff… ideas pops up and I try ‘em out and if they sound good I use it…otherwise I don’t.

I always imagine that when recording songs in the studio ideas are spawned and ignited as a by-product by the process to be logged away for future use. Is this generally the case and if so any gems this time around which might be bred into your next confrontation?

There was more than 10 songs made from the beginning to this third opus but we chose 10 out of them so if we use the rest or if they will be used in another project only future can tell…

This is your first album with Metal Blade Records, has this move given the album and its creation any particular strength or is it really now after release you will find the biggest impact being with the great label?

We worked with the album as we have used to do on the previous ones and Metal Blade didn’t have any specific words in how it should be, only do a great album and do it the Swedish way they said…so I guess the impact will be shown more after the release.

What comes next for Entrails?

In writing at the moment we have done one festival in Germany called Extremefest and after that we will have some vacation and I will sit down and make some new songs and also work with another project along with some friends… yeah it sounds confusing as others would have been on tour promoting their music by now.  But we can’t work in planning tours as the others have so many side projects in the band so we have to await offers and then work from that, but we are having some talks to eventually bring us on a small tour. But´s not confirmed yet.

Again thank you for chatting with us, any last thoughts or words you would like to share?

Well… at: www.facebook.com/entrails666  you can have 100% check on us as it’s there we update and confirm everything. Check it out…

And lastly you were inspired by the likes of Entombed, Dismember, Grave etc. but any bands around now which give you food for thought?

Hmmm…I keep my veins working by listening to the old stuff from 83-95 mostly but if I want to have my veins ice cold I would be listen to technical DM or metalcore or whatever the style is that has no passion and atmosphere to get my veins to work.

Read the review of Raging Death @ https://ringmasterreviewintroduces.wordpress.com/2013/05/14/entrails-raging-death/

Pete RingMaster

The RingMaster Review 08/06/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Entrails – Raging Death

entrails main pic for promo by Emelie M. Hellden

Having been more than impressed by previous album The Tomb Awaits, the release of the third album Raging Death by Swedish death metallers Entrails was met with heightened anticipation. It was a hungry appetite which the band and album easily sated with its expanse of old school enterprise. As since their first day, the sound of the band is soaked in the seeds of Swedish death metal with influences coming from the likes of old Entombed, Dismember, Grave and more towards its caustic annihilatory persuasion and the new album is no different. Also like the previous release the album is not offering anything ground breaking but twisting existing malevolence into new tortuous exploits.

Formed in 1991, Entrail’s start did not bring the band to any real attention, failed attempts at making demos and line-ups changes leading the band to closing down as a project in 1994 until 2008, when band founder and guitarist Jimmy Lundqvist resurrected the band after finding some old Entrails recordings in a tape collection. This led to the band’s debut demo Reborn, a ten track release using original material from their early days brought to life with modern recording technology and fronted by the vocals of Jocke Svensson. Strong reviews fell upon the release and the following Human Decay demo, which again saw Lundqvist providing all the sounds and Svensson the vocals. After signing with German label FDA Rekotz in 2010, the band expanded with guitarist Mathias Nilsson joining the pair as Svensson moved to bass alongside his now permanent vocal duties. The same year saw acclaimed debut album Tales From The Morgue released and the addition of drummer Adde Mitroulis to the line-up as well as the quartet making their live debut again to strong responses. The Tomb Awaits in 2011 brought another elevation in the band’s status   placing the band before worldwide attention.

Raging Death is the first album with Metal Blade Records who the band signed with last year, ten songs of insidious carnivorous Entrails - Raging Deathdeath metal steeped in its origins. The brewing initial breath of In Pieces is the first engagement with the ear, the sinister ambience and gentle breath of the piece a dawning challenge soon exploded into a rabid crawl of sludge intensity and rapacious riffs. Once into its eager stride the track chews on the senses with exhausting hunger and equally depleting energy whilst the rhythmic onslaught of the drums brings bone to dust. It is a compelling and thrilling confrontation with the excellent gut spewing tones of Svensson as impressive as remembered on earlier albums and the track itself a primal aggressor to devour willingly and greedily. There is just one moan and that is with the excellent searing guitar solo which is found within a hollow almost cavernous setting within the song. It is obviously intentional as no other aspect of the track follows suit into the restrictive arms place around it but it feels odd here and on other songs where it emerges, and depletes the strength of the musicianship.

The following Carved to the Bone builds upon and pushes  the strong start to the album, its incessant inciting riffs and sonic persuasion a less intense provocation compared to its predecessor but an equally impacting one, especially with its underlying groove, though again the guitar is unfortunately given that lone distant position in the mix when unleashing its fire.

Through both the brutal predator Bloodhammer and the malevolent Headless Dawn, Entrails continue to savage the senses with craft and enterprise especially in the second with a wonderful haunting melodic central taking of breath before the primal ferocity returns. They are an appetising and invigorating lead in to the strongest and most impressive part of the album where a pair of songs lays waste to the senses and passion with scintillating invention and aggression first hinted at by the closing climax of Headless Dawn.

     Cadaverous Stench immediately stomps over the grave of complacency and predictability, the track a swinging onslaught of contagious grooves and equally addictive riffs whilst both vocals and drums barrack the ear with spite and venomous belligerence. It is an irresistible sonic molestation of the senses with an equally compelling violation of the passions by uncomplicated death metal excellence supported by Descend to the Beyond, a song with a continually shifting gait and a heady mix of melodic and destructive extremes all brought with fire and passion.

The likes of Death League and Defleshed bring further thrilling ruinous and corrosive furies to bear whilst closing track The Cemetery Horrors is a final slab of reptilian filth coated irrepressible extreme metal to unleash further incendiary energy and passion with and to complete a fine and richly pleasing release. Raging Death is not going anywhere no one has ventured before whilst walking with sounds bred in the history of death metal but there is a temptation and hook to it which sets it as one of the more enjoyable and easy to return to genre releases over recent months.

https://www.facebook.com/Entrails666

8/10

RingMaster 14/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Nominon: The Cleansing

Released though Deathgasm Records, The Cleansing is the highly anticipated new album from old school Swedish death metallers Nominon. It is a release which will easily satisfy and thrill all those waiting blackened malevolent hearts. Dripping venom and malicious enterprise, the album is soaked in the essences of the likes of early Morbid Angel, Dismember, and Entombed, but distils its own festering breath and black heart to stand as a release which offers something fresh and invigorating. No genre boundaries are worried or stretched it is fair to say but with something this devastating yet inspiring who gives a rotting corpse.

Since forming in 1993, the band has forged a heady and mighty onslaught of creative sounds in their perpetual corruption which has garnered strong acclaim and followings. From their Promo 1997 demo through the likes of debut album Diabolical Bloodshed of 1999, Recremation in 2005, and Monumentomb of 2010, to pick just a few of their releases, the band have built a mighty reputation and stature. The years saw difficulties for the band but with 2004 said to be the moment things truly changed and rose up for Nominon, the band raised their stock further with their releases alongside impressive festival performances and tours. Following two splits earlier this year with Kommandant and Graveyard, The Cleansing is unleashed to stand as one of the mightiest old school inspired releases this year.

Starting with the atmospheric intro Satanical Incubation, the title fully encapsulating the crumbling and sinister ambience within, the album explodes with bile grafted enterprise through In The Name Of Gomorrah. Driven by the striking rhythms of drummer Perra Karlsson and the guttural demonstrations of vocalist Henke Skoog, the track tramples through the ear with heavy intent and crippling intensity. The underlying groove beneath the scything riffs from the guitars of AntiChristian and Alex Lyrbo is compelling and alleviates some of the intrusive erosion which is permanently at work, though it too is drenched in the intent to ravage the senses and extinguish any remaining light.

It is a formidable start which is built upon impressively by the following likes of Mausoleum and Unholy Sacrifice. Both tracks consume the ear in a fury of bestial power and unbridled malevolence. The first is nothing less than a bruising entrapment of crushing rhythms and spiteful sonics alongside destructive riffs whilst the second exchanges a full on assault with rabid tenacity from the guitars and even blacker merciless poison from vocals and rhythms. The bass of Juha Sulasalmi stalks knowing it already owns your soul adding a further debilitating urgency and strength to an already corrosive presence. Alongside its successor the track is one of the highest peaks in many towering pinnacles within the album.

The title track is the other unmatched triumph. It is an instrumental furnace of rasping sonic energies, dizzying twists, and grinding enterprise from the guitars. Unrelenting from its first caustic expulsion to last, the track just leaves breathless disorientated wreckage in its scorched earth.

Abhorrent Parasites and Hellwitch both abuse the wounds caused from the previous encounters on the album with merciless intensity and insatiable fury from all departments, whilst the likes of Obliteration and Son Of Doom condemn the senses and thoughts to perpetual darkness and diminished hope. Like the album they are spiteful fires of vehemence and unforgiving attitudes within a ferocious intensity veined by imaginative and skilled intrigue which are nothing less than contagious.

With the vinyl version of the album also having the track Slaughter the Imposter exclusive to its body, The Cleansing is a deeply satisfying release which should have all death metal fans shouting from their rooftops.

www.nominon.com

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright