XUL – Extinction Necromance

Photo Credit – Jenna Hindley, Midnyte-Sun Photography

Photo Credit – Jenna Hindley, Midnyte-Sun Photography

Extinction Necromance is a release which wholly captivates whilst hitting the listener with a tsunami of malevolent sound and intent. Consisting of four tracks covering thirty minutes, the EP is a barbarous affair which at times defuses or certainly overshadows the invention and diverse textures within its depths through a continual tirade of vocal and emotional hostility. There is no hiding place from the encounter either, except the off button, but its creators Canadian metallers XUL, ensure that is never an option with their craft and fascinating enterprise.

XUL hails from Vernon, British Columbia and cast a merciless trespass of blackened death metal upon the senses. Influences to their intent include the likes of Behemoth, Dissection, Immortal, Emperor, and Watain, strong flavours noticeable in the band’s sound but without leaping miles away from such inspirations XUL has woven the spices into a sonic narrative built on the sole character of their imagination. Formed in 2008, the quintet released debut album Malignance four years later, a well-received encounter stirring up Canadian extreme metal especially across the Western side of the scene country, a recognition reinforced forcibly by the band’s live presence which has seen them share stages with the likes of Obscura, Exhumed, Vreid, Kampfar, Woods of Ypres, Macabre, Withered, Cephalic Carnage, Archspire, and 3 Inches of Blood. New EP Extinction Necromance sees the band explore their darkest depths and most malevolent emotions, filtering all into intensive examinations of ears and psyche.

It begins with Frozen, We Drown, an immediate consumption of the senses through prowling riffs and grooves punctuated by lurking rhythms. There is also an underlying swing to the opening baiting of ears, a trait which is regular bait whether in a gentle melodic persuasion, a rugged rampage, or an unbridled savaging. There is also thrash bred virulence at the start which with the rabid sonic intensity subsequently evolves into a melodically scenic landscape of constantly developing climates and unpredictable intent. The track continues to shift and switch its attack and sound, merging murderous sonic and rhythmic affairs with almost seductive hugs of calm and evocative suggestiveness. XUL’s sound, as each song upon the EP, is not suitable for a lightweight consumption. It is with continual examination that the busy terrains and almost insidious nature of the aural tapestries unravel for increasingly dramatic and impressive proposals. That is not to say it is not a potent first introduction made, just a matter of almost too much to digest and get a handle on initially.

Album Artwork done by Remy C. of Headsplit Design

Album Artwork done by Remy C. of Headsplit Design

It does ensure every listen is a slightly different and fresh adventure too, epitomised by the following Orbit of Nemesis. It rises from the release with a heralding fanfare of horns and celestial harmonies, the epic air suggested in the orchestral hints of its predecessor in full regalia here. Like a majestic bird soaring into an expansive and thickly coloured atmosphere the track sparks the imagination but like the same being swallowed by the jaws of a violent storm, the expressive opening of the track is devoured by a bestial sonic explosion. The band surges over the senses from within that assault; volleys of violent beats from Lowell Winters the spearhead of a hellacious onslaught brought by the bass predation of Marlow Deiter and rabid guitar causticity from Wallace Huffman and Bill Ferguson. With the raw primal tones of vocalist Levi Meyers leaving their own inhospitable residues in ears too, it is a gripping fury taken to greater heights by the toxic but sonically invigorating grooves and shards of melodic imagination spilled by the fingers of Huffman.

As the first track, though maybe not as openly tangible, there is an evolving aspect to the raging and another swing to its vicious stroll, an ingredient which marks each song in varying ways and degrees as shown by third song Chaos Requiem. Rolling in on a ‘gentler’ gait and intent than its excellent predecessor, the song is soon sledgehammering the senses as guitars weave a tempting lure of melodic intrigue and expression. The turmoil is exhausting, ensuring that the brief respites when they emerge feel like oases in the merciless storm. It is increasingly gripping and an intensive incitement which as mentioned needs time to fully explore but more than rewards the effort.

Final track Summon the Swarm coaxes with the calm of water and a reflective melody before unleashing sonic and rhythmic carnage, but a tempest openly and precisely sculpted by each element of the band. It also delivers a thick anthemic lure alongside its punishing tirade of sound and voice, the track at times as intoxicating as it is corrosive as it frees a maelstrom of emotion and musical drama, especially in the closing ravishing of ears.

The more time Extinction Necromance is given the more it impresses, an undeniable success which marks XUL out as a band to watch closely as they surely start luring in a more global attention, starting right here. It might not quite be the best blackened death metal protagonist you will meet this year but it will be the one of those enticing the most repeats plays.

Extinction Necromance is available from May 19th @ https://xulmetal.bandcamp.com/album/extinction-necromance

http://xulofficial.ca/   https://www.facebook.com/Xulband

RingMaster 19/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Conceived By Hate/Akheron – Coalition of Death

COALITION OF DEATH Cover low quality

Released via Morbid Skull Records, Coalition of Death is another enjoyable split release introducing a wider audience to two more seriously accomplished underground propositions. The bands given the platform are El Salvador’s Conceived By Hate and Colombian metallers Akheron, a pair of thrash bred antagonists with potent sounds to highly satisfy and excite ears. Each provides four captivating and bruising offerings, including one cover each, all combining to create an encounter which is not a landmark release or going to stop metal in its tracks but certainly gives both bands a higher profile in a worldly spotlight.

CONCEIVED BY HATE

CONCEIVED BY HATE

Death thrashers Conceived By Hate are first up, a band formed in 2002 by Morbid Skull Records owner, guitarist/vocalist Jorge Montesino (Disorder, Morbid Stench) alongside co-founders bassist Carlos Basagoitia and guitarist Rene Vega. Since forming, the band has had a few line-up shuffles amidst a handful of releases and splits; each increasing awareness of the band outside of their homeland. Now the San Salvador sextet exposes new ears to a trio of their original intrusions and one enjoyable cover upon Coalition of Death.

Their first track is Devotees of Death, an immediate fury of barbarous rhythms and scarring riffs bound in just as quickly gripping fiery grooves. It is an attention grabbing start which only increases its lure as the raw vocals of Montesino prey on ears, sound-tracked by increasingly tangy guitar enterprise. Bursts of technical potency break up the torrent of incessant aggression but only for swift flirtations so that the intensity and commanding persuasion of the track never waivers. It is a thunderous slab of thrash driven death malevolence inspiring a keen appetite for the band’s sound, a taste fed potently again by the following Hypocritical Sense of Ego. With the keys of Tulio Mata a more prominent inventive colour to the tsunami of sonic and rhythmic antagonism driven by the skilled swings of Iosif Najarro, the track is a more exploratory and fascinating proposal to its predecessor but lacks the fluency of attack which set the first apart.

Nevertheless the song only adds to an enjoyable first taste of Conceived by Hate, backed just as agreeably by the melodic and sonic tapestry of Embrace the Absurd. The track prowls and launches at the senses with a varied gait and an ever evolving intensity, again revealing more of the creative tenacity in the band’s sound along the way. Brutal rhythmic intent and unrelenting contagious grooving is at the heart of this and all the band’s endeavours, but keys spread a tantalising spicing to the tempest, never making an imposing or dramatic impression but always there colouring and lighting the darkest depths of the music along with the melodic expression of the guitars.

Closing their portion with an aggressively magnetic and enjoyably hellacious cover of the Dissection track Thorns of Crimson Death, Conceived By Hate provide an engrossing first half to

Akheron

Akheron

the release, a side more than matched by the thrash exploits of Bogotá hailing Akheron. Formed in 2003, the quartet of vocalist/guitarist Juan Guerra, guitarist Jonathan Jimenez, bassist Julie Gomez, and drummer Luis Galeano hit top gear straight away with Estigma. Within a few breaths it shows a dark and predatory thrash breeding but equally reveals strains of death and blackened intrigue and voracity. Grooves and hooks make an entangling web of temptation from the start, their bait supported by a turbulence rhythmic provocation which belies the skill of its hostility with its unbridled fury. The track is a tremendous start, the bass and vocal growls irresistible bad blood in the fierce tempest raging around them.

Chemtrail stalks the listener next, its atmosphere and nature gothic like, even as inventive turmoil erupts in a captivating and intimidating dance of scathing riffs and bone splintering beats. Grooves and acidic melodies only add to the spicy temptation whilst the bestial tone of the bass has ears and appetite aflame with its animalistic predation. Both their two songs make a lingering impression but the band hits another plateau with the outstanding In-conformista. Gliding in on a melodic tide of persuasion, the song soon embroils the listener in a web of unpredictable and enthralling sonic adventure. Rhythms again forge the darkest grizzled corners of the band’s invention whilst grooves and imagination provide the blaze of unexpected twists and explosive ambition.

The release is completed by Akheron giving the Misfits’ Where Eagles Dare an intoxicating makeover, keeping its virulent swing and addictiveness but twisting it into an insidious treat of addictive malevolence. It is a great end to a thoroughly satisfying and flavoursome release. Both bands impress, at times seriously seduce, and each shows they have plenty to reward a much broader and intensive examination from all.

Coalition of Death is available now via Morbid Skull Records

https://www.facebook.com/conceivedbyhate   https://www.facebook.com/pages/AKHERON/219232631435984

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Frostbitten Kingdom – The Winter War Symphony

FK Cover 1500x1500

The Winter War Symphony has had a battle all of its own in its journey to face the world, a turbulent adventure which finally comes to an end with its global release via Wormholedeath. The transfixing creation of Finnish extreme metallers Frostbitten Kingdom, the five track release is a breath-taking and epic exploration of a stark landscape within a grim world flooded with just as erosive and haunted emotions. Its title perfectly sums up the encounter and its rugged terrains of malevolent and brutal hostility aligned to an impassioned melodic and symphonic beauty, black and death metal combining for a gripping and ravenous dark emprise which shows no mercy for the senses but inspires the most vivid exploits in the imagination.

Hailing from Turku and formed in 2004, Frostbitten Kingdom drew on inspirations from bands such as like Dissection and Immortal as they explored and cast a sound drawing on Scandinavian black metal as well as US strains of death. From debut album Through Nightfall Storms and Sunless Dawns in 2007, the band was increasingly drawing attention at home, and as the Towards the Battlefields MCD of the following year, second album Obscure Visions of Chaotic Annihilation, and third Infidel Angel in 2009 and 2010 respectively continued the band’s emergence, tapping into a wider and broader spotlight. The latter releases also showed a stronger influence of American death metal, with essences of bands like Deicide and Immolation being offered as references. Their live presence equally drew potent interest and praise as Frostbitten Kingdom played with bands such as Bal-Sagoth, Solstafir, and Venom.

2011/12 saw the band concentrate on writing and recording fourth full-length The Winter War Symphony, with its release scheduled for 2013 through No Sign of Life, who had released the previous album. This was thwarted when already after a couple of delays, Frostbitten Kingdom read in a magazine of the sale of the label. With the new owners surprisingly not interested in releasing the album, a mystery such its majesty, and the loss of bassist and guitarist leaving the band as just H. Kanervo (vocals, guitars, keys) and S. Vainio (drums), things had stalled. Earlier this year though the band put The Winter War Symphony out as a promo, it swiftly earning acclaim and attention, including that of Wormholedeath who contacted Frostbitten Kingdom and struck a deal to digitally distribute the album worldwide. Long overdue but finally with the widest stretch of ears and imaginations available for persuasion, The Winter War Symphony is poised to stake its claim as one of the year’s triumphs.

Warfare & Wilderness begins the epic musical and lyrical narrative, its opening harmony of classical hues within orchestral elegance bewitching. Strings and keys transfix ears and thoughts, the melancholic air of the music as hauntingly emotive as it is gently portentous. Eventually its sorrowful beauty evolves into an equally melodic and tenacious roar but courted by stern riffs and sinister shadows, a tempest in waiting which breaks free when raw caustic vocals spark thumping rhythms and even heavier drama. Light and dark conflict and collude within the still mesmeric encounter, its climate darkening with every chord and melody yet still taking the listener on an invigorating and radiant flight.

The opener is a proposition which works away as forcibly on the imagination as ears, allowing thoughts to ignite their own adventure aligned to that of the band’s intent. The following muscular storm of The Battlefront is the same, though the blunt force and creative hostility of the track dictates the unveiling in song and mind predominantly. As in the first and subsequent songs, it is the varied sonic endeavours in the track which steals the passions most potently, numerous metal flavours stirring within the death bred confrontation igniting the unpredictable and fluid invention which fascinates and thrills across the whole of The Winter War Symphony. The visceral textures around the descriptive sonic and lyrical canvas only draws its recipient deeper into the dramatic heart of tale and release, a lure emulated by the glacial and threatening scenic tones of Sentinels of the Silent Tundra. Bestial elements prowl and intimidate from within the track’s barren yet engrossing bone-chilling climate. It is a harsh domain clouded with sublime melodies and an addictive sonic enterprise, leaving thoughts unsure whether to flee or embrace the soul freezing lands explored.

From the delicious opening hook of the outstanding Lost, Forgotten and Forlorn, ears and emotions are instantly enslaved so that even the subsequent cruel air and voraciously scarring diversity of vocals cannot defuse the appetite to immerse fully into the predacious and exhausting depths of the carnivorous squall. The track is quite scintillating, simultaneously savage and seductive as it ebbs and flows through an expansive and imposingly visual soundscape.

The album finishes within the gelid yet magnetic lures of Lucid Nightmares of Barbaric Brutality, the track a ferocious and barbarous examination of the senses and corrosive intent. Vocals and rhythms threaten whilst melodies and spicy grooves inflame from within the maelstrom of invention and hostility. There is no compromising with the song, or album come to that, but it does not need to with the scintillating craft and enticing imagination veining the challenging treat.

Now it has been uncaged, it is easy to expect The Winter War Symphony to push Frostbitten Kingdom to the fore of extreme metal. For such an impressive and rewarding onslaught they certainly deserve an intensive spotlight being shone their way.

The Winter War Symphony is available now via Wormholedeath through all good online stores.

https://www.facebook.com/FrostbittenKingdom

RingMaster 27/11/2014

Copyright RingMaster: MyFreeCopyright

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Fiends At Feast /Tragic Death – Purgatory Rites Split

frontcover

Purgatory Rites is a split release bringing together the distinctly different but similarly cast brew of blackened death metal of US metallers Fiends At Feast and Tragic Death. It is not a union or release for the faint hearted, its chilling textures and rapacious appetite permeating and imposing on senses and psyche with uncompromising ferocity. For all the vicious rabidity though there is also a rich vein of melodic expression and resourceful temperance to the Horror Pain Gore Death Productionsencounter which makes both sides of the proposition compelling provocateurs and something different from the norm which subsequently makes the release itself a formidable and riveting proposition.

Providing four pestilential tempests upon the release is Santa Cruz quintet Fiends At Feast, a band formed in 2008 by guitarists Sammer and David. Within weeks the line-up expanded with vocalist Loki and bassist Nathan Nunes, before after going through a couple of drummers, Marloc was added to the band in 2009. Debut EP Shadows Of Extinction two years later made an attention striking mark before first album Towards the Baphomet’s Throne of 2012 placed a keener spotlight upon the band. Merging sweat and blood with a tumultuous blend of black and death metal, Fiends At Feast take little time on the split to reinforce their reputation and stir up the imagination.

A spoken declaration opens up the vault to a torrent of destructive rhythms and scourging riffs all under the guttural malevolence of the gutturally rasping vocals. Four Winds of Destruction is a corrosive encounter straight away but one with bewitching melodic enterprise within the predation of the guitars which ensures predictability is scarcer than a comforting caress. Production wise it is a little hit and miss, the guitars surprisingly submerged within the welcome prowess and stalking of the bass and the demanding endeavour of the drums. It is not a major issue but does defuse some of their sharpness as they stand behind instead of alongside the vocal lead.

Through Immortal Gates is a similarly layered and malicious incitement though the alignment of each aspect is better in the overall assault of the track. Ravenous in its heart and rivetingly imaginative in its tenacity and adventurous landscape, the song makes for a gripping black hearted emprise, grooves and rhythms especially warrior like in pride and creative rabidity. It is a mouthwatering examination for thoughts and emotions to explore, an intimidating yet seductive playground for their running with the song’s narrative, something which is especially easy with the following instrumental Spectral Passageway. Soaked in emotive ambience and the stark breath of haunted pastures, the piece is a well for the imagination to paint with, the satanic breath of its companions keeping to the shadows as it casts beauty and poetic reflection. It also allows a breath to be swallowed before the serpentine and increasingly ferocious hunger of Into the Darkness envelops and immerses the listener in its noxious climate. Though not as impressive as certainly the previous pair of tracks it again reveals the potential of Fiends at Feast and their increasingly agreeable enslaving of the senses to complete a strong offering from a band easy to suggest to fans of the likes of Dissection, Immolation, and Watain.

     Tragic Death is a trio from Madison, Wisconsin which like its companion here shows little mercy in its consuming of ears and beyond with destructive mix of back and death extremes with a thrash bred voracity. Self-penned as Apocalyptic Metal, the band’s sound has earned the 2009 formed band, a potent reputation through their debut album Apocalyptic Metal of 2012 and live performances. Purgatory Rites finds the band at its most inventively creative yet, opening track Suffer the Salvation alone visually descriptive through its melodic conjuring and aurally incendiary with passion chaining grooves and sonic mesmerism. Compared to Fiends At Feast there is a deeper atmospheric essence permeating their similarly predatory and malevolent presence and whereas the Californian four piece goes for the jugular before asking questions more often than not, Tragic Death take a murderous scenic route which is soaked in provocative imagery and emotive elegance within a venomous landscape.

Their remaining tracks, Withering Youth and The Dissolution of the Clay Children continue the impressive showing of the band, helping them steal the show from their equally impressive counterparts. The first of the two flirts and savages simultaneously, the guitars of Steven M. blistering and seductive within the tempestuous journey whilst his vocal rasps, as the rhythmic challenge of drummer Cody S. and bassist Joe D., leave sore yet blissful residues which linger and intensify the weight and lure of the song. Its successor is an epic fall through merciless and brutal scenic malignancy but again with twists of melodic and atmospheric colour which enthrals from within the tortuous air and oppression, a crafting as within all songs with elements of bands such as Rotting Christ, Enslaved, and Deathspell Omega to its bait.

   The track brings the release to a powerful and dramatic end, and though not as gripping as the other pair of tracks from Tragic Death it reaffirms them as a band to keep a close attentive eye upon, just as to be fair Fiends At Feast achieve with their contributions also. The Purgatory Rites Split is a worthy investigation for blackened death metal fans and extreme metal adventurers everywhere and another potent step in the emergence of both bands.

Purgatory Rites Split is available now via Horror Pain Gore Death Productions @ hpgd.bandcamp.com/album/purgatory-rites-split-cd

https://www.facebook.com/FiendsAtFeastBand

https://www.facebook.com/218tragicdeath

8/10

RingMaster 17/06/2014

Copyright RingMaster: MyFreeCopyright

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Valdrin – Beyond the Forest

Valdrin

There are two sides to Beyond the Forest, the debut album from US black metallers Valdrin; one a flowing landscape of poetic imagination basking in colossal emotive melodies and enveloping atmospheres and the other a pestilential savaging infesting senses and thoughts. Both are irrepressibly compelling and entwined into a masterful captivation of ruinous intent. Brewing an enthralling toxin of black metal with twists of thrash and death metal bred voracity, Valdrin is an attention grabbing and exciting new protagonist, and their album a demanding and intensive experience which makes you work for its rewards but offers them impressively.

Hailing from Cincinnati, the trio of Carter Hicks (guitar/synth guitar/vocals), James Lewis (bass), and Ryan Maurmeier (drums) have drawn comparisons to the likes of Emperor, Bathory, and Dissection with their uncompromisingly creative scourges masquerading as songs. Their music is not just ravages of the senses though as the trio’s ability to cast weaves of orchestral and intimate beauty woven with riveting melodic design within angrily tempestuous climates and assaults is bewitching. As mentioned it is not an easy accessibility offered by band and album but one which fills and ignites every spark of a synapse, thought, and emotion.

Beyond the Forest emerges through instrumental A Drain in the River, it a heavily portentous and disturbing scenery of dark menace valdrin-beyondtheforestand emotional suffocation leading into a world of danger and tormented souls. The journey of the album is menacingly afoot and soon thrust into the malicious jaws of the title track. Riffs and rhythms rampage with a pack like rabidity from its first breath, never reining in its voracity even as insidiously serpentine vocals and warped sonic grooves spread out from within the maelstrom. The track is a savage aggressor but one with sleek invention and sonic poise to not temper the hostility but certainly shed a magnetic light over its violence. The narrative of the ten minute adventure is venomously expressed by the acidic vocals, their presence another aspect to acclimatise to but embraced heartily before the track is in its final throes of animosity. With a terrain which is persistently evolving and shifting the band immediately shows the depth and invention to their songwriting and imagination. With classical guitar and melodic reflection as absorbing as the ferocity burning elsewhere, Beyond the Forest is a masterful and gripping continuation of the entrance into the heart of the album.

The individual skills of the band is a constant open source of pleasure, the following Rusalka Succubus right away continuing the almost progressive flair each member explores within the vicious turbulence and spiteful malevolence bursting from each track. Again the song is an intensive oppression on the senses at its core, a thick abrasion which alone would be hard to penetrate or arguably endure; it is scored and laced with irresistible melodic grandeur and ingenuity though which simply seduces ears through to emotions as a ghostly elegance calls with sirenesque persistence from within the beauty.

   Serpent Willow launches at the senses next with a flailing barrage of rhythms and ravenous riffs, a thrash seeded bitterness driving the thrust of the song. It is a tremendous violation of ears, a savage bestial ferocity which digs deep and long with its rabid hooks and insatiable grooves before making way for Impaled Visions Breed Within the Vines. This is another track where the thrash instincts of its primal intent steers the rage but where its predecessor is single minded in its attack, this thick wind of sound and emotion breathes with a celestial grace and melodic appetite within a rapacious animus. As with most tracks the song needs time to unveil all of its dark crevices and evocative structures but the bait right away is merciless and an ever increasing lure as the track reveals its glory.

Both Calling to the Canidae Hordes with its refreshing but malicious flume of bad blood around a spellbinding enticement from the guitars and the epic flight of Through the Catacombs enslave attention and imagination next. The first is a galloping call to arms, an almost festive swagger and glee to its web of sonic endeavour shining from within an open rancor whilst the second of the two songs is similarly buoyant in its suasion but darker and more intimidating in its shadows and clawing rhythmic nagging. As with all breath-taking melodic sculpting and evocation brought by Hicks it comes under an exacting examination of not only drums and bass but his vocal enmity, but always succeeds in making an impacting persuasion. It is a masterful mixing by the band under a great production which whilst clouding and accelerating the dark cavernous pressure of songs allows clarity for the caressing intricacies and inciting melodies of songs. The brilliant and exhausting race against time fuelled torrent of riffs and rhythms at the tracks climax is mouthwatering, igniting a greedy appetite for the demonic beckoning and pillaging of the senses from Come Forth. Thrash riffs and tenacity again infiltrates and swamps the passions, the track a blistering and scintillating onslaught with thrilling guitar toxicity.

Through the nefarious yet enchanting call of Darkness as Black as Evil and the infernal climate of Battles in the Medieval Sky, band and album cast new and constantly twisting provocations whilst an expansive submergence into In the Vortex of Time / Relinquish Flesh is as breath-taking as it is disorientating, the heart of the blackest soul wrapping its damned elegance tightly around the senses. As all songs on the release, the tracks are never a clear or straight forward picture as inspired ideation and creative bravery contrasts and complements the heart of songs.

Closing with the impressive drama and rich melodic colour of Forgotten Souls and its final dark invasive premise, Beyond the Forest is a fascinating and richly exciting introduction to Valdrin. Do not expect to understand and discover everything about the band and what they have to offer quickly or easily but that just makes their album a long-term investment for the imagination and passions. Valdrin has the potential to be very special; they are half way there already with their deeply striking debut.

Beyond the Forest is available through Blasthead Records now @ http://blastheadrecords.bandcamp.com/album/beyond-the-forest

https://www.facebook.com/valdrinausadjur

8.5/10

RingMaster 04/06/2014

Copyright RingMaster: MyFreeCopyright

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

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Stranger than brutality, bloodier than fiction: an interview with Morgue Orgy

Morgue Orgy Dispose-of-the-evidence

If you have not come across UK metallers Morgue Orgy yet, then you have missed out on one scintillating violation of your psyche and person. But it is never too late to catch up on the brutal beatings especially as the Birmingham sextet has just released their debut album The Last Man On Earth, to savage the senses and all for free. Creating a malevolent pestilence of inventive and melodically blackened death metal, the band is one of the rising forces in British metal, a mischievous scourge to tempt the deepest passions. Offered the chance to delve deeper into the mayhem and creative bloodshed, we greedily gathered up questions to feed Carter, Tris, and Ben from the band, subsequently learning about the beginnings of Morgue Orgy, the new album, live exploits, a passion for a certain American punk rock band and much more…

Welcome Gentlemen and many thanks for taking time away from the mayhem and brutality to talk with us.

Tell us about the history of you guys pre- Morgue Orgy through to the early days of the band.

Carter – Gray, Prok, Ben and I were in a thrash/punk horror band before Morgue Orgy. Gray and Prok asked me to join the band in 2000 and Ben joined in 2005. We got a large following in Birmingham, but we only played a handful of shows outside our hometown. The band was a lot of fun, but when our drummer quit in 2007 we decided to start something new. Gray wrote a couple of songs (that would end up as The Black of Hearts and The Arkham Waltz from The River & I EP) and suggested we name the new band Morgue Orgy. Gray used to sing and play bass in the previous band, but he wanted to concentrate solely on vocals with Morgue Orgy, so he asked Tris to join on bass. It took us a year to find a new drummer and when we auditioned Tom we knew immediately he was the man for the job.

What was the spark or intent in the band at the beginning and has that original ‘purpose’ of the band remained the same or evolved over the past five years?

Carter – The main intention for us is to have fun, and I think we’re enjoying being in the band more than ever! When we started Morgue Orgy, we wanted to write heavier music than we’d done before, and just focus on metal, instead of the endless genres (including ska, drum & bass and funk rock) we’d bounce between with our old band. Our sound has definitely evolved as we didn’t really know what we were doing when we wrote The River & I, we were experimenting and learning.

What are the inspirations you have taken into the band musically and lyrically?

Carter – We all listen to a wide spectrum of genres, none of us are metalheads, as such. We are inspired by a lot of different artists, for example Gray takes a lot of influence from rap artists, as he tends to write quickly-bellowed lines with a shit-load of syllables to fit in. Of course we take a lot of inspiration from bands such as At The Gates, Anaal Nathrakh and Dissection, but we also influenced by the likes of Queen, Rancid and Bartok.

Am I right in thinking some of or the band as a whole has a bit of a passion for Bad Religion?

Carter – HAHA yeah they’re fucking awesome! We give free merch to anyone that comes to our gig in a Bad Religion shirt.

Musically you are tagged as melodic death metal but as the new album shows there is much more in your maelstrom of invention Morgue Orgy 1and sound. How would you describe it to newcomers to give the closest representation?

Tris – I don’t think we can tag ourselves specifically as melodic death metal, we end up with all sorts of sub-genres in there but maybe because of ignorance of these ridiculously specific sub-genres on my part I have no idea how to even class it. People seem to think we genre hop a lot and don’t seem to be able to comprehend what they’re listening to sometimes but we’re not exactly Mr Bungle! There’s shouting, d-beats, blast beats, minor bar chords, shredding, keyboard melodies, the odd proggy(ish) bit and if you listen closely enough – I got my bass to sound satisfyingly like the bass tone on the recent Sick of it all re-recordings album! The album is free on our website anyway – download it and make up a genre for it!

Your first pair of EPs The River & I and Murders Most Foul made a potent statement musically for the band and were seemingly greedily received; with your debut album freshly unleashed this month how do look back at them in comparison to The Last Man On Earth?

Carter – We think the River and I is a bit shit now, to be honest. Maybe it’s because they are our oldest songs and we’re bored of them. As I’ve mentioned, the first couple of years for the band was a learning period and there’s a massive difference in quality between The River and I and The Last Man On Earth. I still enjoy Murders Most Foul and I especially love playing 70 Dead and Scared To Death Of My Own Face, I think they’re great songs. Our new album though is much better in my opinion. Each member has improved vastly over the last couple of years and our progress is evident when you listen through our discography.

So how has your sound and presence changed then in the period between your first release and the new album in your eyes/ears?

Tris – We’re still kind of the same band but we’ve improved so much at playing our instruments that we’ve basically ended up a lot faster and heavier. A constant evolution in music taste also plays an effect without you even necessarily realising. We’re all getting back into punk now which I know I haven’t really listened to in a good few years. Just wait for the next album we’re going to end up sounding like the Descendents.

The Last Man On Earth as we mentioned has just been released, an album we said was ‘a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination’. You must be proud of its invention and impact as well as what seems to be a full on soak of acclaim from fans and media alike?

Carter – We are immensely proud of this record. We worked long and hard to create this beast but we never imagined it would be so well received. It has filled us with confidence and justified our direction.

Please give us some insight into the evolution of the album from its first seeds to the final impressive scourge?

Carter – We definitely took our time with putting the album together; the first song that was written for the album was 4 Days, which Tris wrote shortly after recording Murders Most Foul. We used Guitar Pro to demo the riff ideas and would upload them to SoundCloud for the rest of the band to listen and give feedback. Once a song had a rough structure, we’d take that track into the practice room and go from there. We recorded with Ow Davies of Loud Noises Production, who recorded our previous EPs too. We love working with Ow because he gets the most out of us in the studio and he enjoys a good laugh too! He’s got better and better over time and you can hear that on this record, the production quality is outstanding and that is all down to Ow.

1535704_454685597971479_1209997831_nDid the album emerge from the studio exactly how you envisaged going into its recording?

Ben – YES! We had nailed each song from start to finish in the recording studio and as a rhythm section knew exactly how the songs were to sound. The synth/keys were put down later on and tied it together in the way that Carter wanted them to, and it works!

So you are a band which has songs as good as finished before their recording or still prefer to let them develop in the studio?

Carter – The bulk of the songs were fully written before going into the studio, but some vocal deliveries from Gray were altered at times, and he’d improvise recording random noises to add atmosphere/comedy. The sound effects were all put down in the studio once the instruments were tracked. Our guest sax-player, Colin Mills, came in and improvised on Barnum & 399 and the title track, which was fucking awesome. Dunc from Fukpig co-wrote the lyrics for Castle Freak, but we hadn’t heard his vocals for the song until he recorded them.

The Last Man On Earth can be described as psychotic, schizophrenic, and masterfully vicious; three traits you were aiming for or simply the natural emergence of the band’s characters? 😉

Ben – We were all really really angry. Not really! We don’t actually know why our music comes out so brutal. We are all stupid idiots who go out dancing to 90s pop and listen to Bad Religion so why we are even a metal band is beyond any of us. It seems to work though!

You released the album initially as a free download before Christmas, what was the thinking behind the decision and giving what is sure to be a top contender for best of year lists in twelve months so generously away?

Ben – When an audience of people don’t even want to part with £2 for your 5 track EP’s you know you are in a fickle scene. So when that happened several times it was time to think outside the box.

 Carter – Free music is so easily accessible now it seems naive to fight against it. If you can’t beat them, join them. Our main focus during this release is to gain awareness of the band, and charging for the album would have been a limitation.

We also mentioned in our review a mischievous or maybe that should be rascality to the band and the album in our review, this is a major part of your intentions as a band to have fun and grin in the sonic bloodshed?

Tris – Absolutely! Basically we’re a bunch of idiot mates who decided to form a ridiculous metal band with a bit of inspiration from the horror films that we (well actually just Gray) watch. Somehow I think we’ve managed to put that across in our music. People seem to think us pricking about is a gimmick but it’s just what we’re like. We recently released a dildo because we thought it would be funny – If anyone gets irritated and thinks we’re not metal enough for doing so…that is also funny. If you come and see us play a gig we definitely don’t take ourselves too seriously. You’re more likely to see me do squats at 220BPM with a smile plastered on my face than headbang, act like a serious rock star and pretend I’m not enjoying myself.

Tell us about your live shows then and why people need to join the orgy.Morgue Orgy We-play-in-a-band

Carter – Our live shows are all about letting loose and having a good time. We act like idiots on stage and encourage the crowd to do the same. If everyone is smiling by the end of the show, we’re happy.

What has been your stage highlights so far as a band and personally?

Carter – It would have to be playing Bloodstock Festival in 2010, we worked really hard to win the ‘Metal To The Masses’ competition in order to play the festival and the turnout for our set was amazing. I really enjoy playing hometown shows, in front of friends and fans that have watched us for years. We’ve played a couple of really fun gigs in Rugby, Leeds, and Torquay, but I don’t think there are many stand-out shows for me… as long as the audience are enjoying themselves and the sound guy isn’t a prick, I have a great time!

Your bio describes the band as ‘the UK metal scene’s last hope for melodic death metal.’ Do you feel that it is as that suggests on its last legs or maybe it just has not really erupted from a relatively sleepy state?

Ben – We do tend to be one of few bands in this scene who actually think of melody as being important. Perhaps the trend to revolve a song around a beat down has killed off peoples’ brains. We come from the Pantera/Bad Religion/Take That end of the musical scale, where melody is as important as crush!

2014 looks like being a busy and major year for the band, what is next for Morgue Orgy?

Ben – We hope to push our album out to labels and to find a good booking agent to push us further than we could possibly do ourselves.

Once again big thanks for putting aside the bodies for us, any thoughts you would like to leave the listeners contemplating?

Carter – A female bed bug doesn’t have a sexual orifice, so the male has to traumatically inseminate the female by piercing her abdomen with his penis. So if you ever feel depressed remember it could be worse, you could be a female bed bug being fucked in the belly.

Ben – Bad Religion

Morgue Orgy Little-shit-dogAnd finally give us your top five ways in the disposal of bodies.

Now we’re guessing in this scenario you’re assuming we’ve done the killing? Because if you just happen to stumble across a dead body you should probably alert the authorities who can launch a full investigation into what has transpired. Also, we are not actually morticians and couldn’t give you advice on disposal if you are looking to start your own morgue. Again you should alert the professionals who will be able to give you proper advice. But if you’re asking for actual murder tips I suppose we can take a guess but don’t take this as an excuse to start doing it…

Carter – 1. Grind them up and mix them in with the kebab meat 2. Use their bones to make a go-kart and their skin to make a nice coat, throw the rest in the bin 3. Leave them outside a hospital with a note saying ‘for science’. They’ll be grateful for it, honestly 4. Drill them into the sea 5. Package them and label it with any address, Royal Mail will just lose it in the post!

 Ben – 1. Feed them to the ducks 2. Kill them twice 3. Horses 4. Find a keen worm 5. Sit on them until they hatch

 Tris – 1. Drill it over the fence 2. Drill it into the sea 3. Leave it out with the dirty dishes in the kitchen and eventually someone will get annoyed enough to clean it up for you 4. Seal it within a mattress and leave it on the drive for your local council to fail to collect 5. Get Prok to discuss his guitar solos with it and it should get up and leave of its own accord.

Get Morgue Orgy’s debut album The Last Man On Earth @ www.morgueorgy.com and read the review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/13/morgue-orgy-the-last-man-on-earth/

Pete Ringmaster

The RingMaster Review 11/02/2014

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Aetherium Mors – Entrails Of The Soul

Entrails CD Front

Having impressed with their debut album of last year, UK blackened death metallers Aetherium Mors confirm it was just a platform for greater things with the release of the Entrails Of The Soul EP. Consisting of four dramatic and viciously sculpted expanses of intensive and creative confrontation, the new release takes the richest essences and promise of its predecessor, Drenched In Victorious Blood, and evolves them into an even more captivating and exploratory maelstrom of adventure. The EP is not a release to instantly unveil all of its imaginative depths and corners either but an intensive and welcome violation which makes a constantly stronger declaration on top of its initial persuasion over numerous encounters.  The band provides a textured and evocative extreme metal encounter which lingers and feasts upon the imagination, a companionship for the senses which is never comfortable and respectful but certainly immensely enthralling.

Formed in 2004 by multi-instrumentalist Dan Couch and vocalist / lyricist Kane Nelson, Aetherium Mors became a studio project for the pair despite the intent for it to have a full band line-up, the lack of musicians able to realise and deliver the complexities being created driving that direction for the project. Creating songs inspired by the sounds of bands such as Death, Carcass, At The Gates, and Dissection, the duo were also busy with other projects which saw Aetherium Mors going on hiatus, Couch heavily involved as guitarist with Plymouth based progressive rock/metal bands Wishlist and Daggers Drawn, and as drummer with black thrash band Holodomor, whilst Nelson was the frontman for sludge/death band WarCrab. As these commitments and bands came to an end, the pair resurrected Aetherium Mors and set about writing and re-recording early demos for debut album Drenched In Victorious Blood. Its release last year ended an eight year wait and pushed the band to the fore of British underground extreme metal, a position Entrails Of The Soul could very well take to greater levels of recognition.

The EP opens with its title track, a song which makes a seductive first contact through an evocative coaxing from the guitar within a rapidly brewing caustic ambience. Welcoming and intimidating, the air of the song has senses and thoughts on full alert, unsure of which way the confrontation will turn but eager to stand before the emerging tempest and find out. It is not long before riffs scorch the atmosphere whilst the destructive invention of the drums harries and menaces the ears. The vocals of Nelson equally show no restraint, his insidious malevolent tones squalling with a slavering rabidity as they deliver every spite drenched syllable of the viscerally soaked narrative. It makes for a compelling storm, a tsunami of inventive maliciousness raging ferociously whilst almost hidden below is a ridiculously addictive groove, the great production just giving enough of a glimpse for it to tease and excite the healthy appetite already in place for the EP. The production on the release a critical part of the success of Entrails Of The Soul, its approach different to maybe what one expects from an extreme metal offering but with an ability to bring clarity to the underlying contagious grooves and tempting deceptive hooks whilst boiling up the intensity to almost suffocating degrees it is as impressive as the sounds. Unleashing a waspish vitriolic groove towards its closure which is quite irresistible, the track is an immense start and already has pushed the boundaries set on the previous album on to new dimensions.

The following Ritual To Evince The Subsurface Of Purity opens with another melodic temptation but soon has a torrential blaze of exceptional merciless rhythmic onslaught and sonic adventure raging, the band again accomplished at brutalising and seducing simultaneously with elements which for many would not work together. It is an absorbing thought pressing song which makes for another peak in the passage of the release, a height soon matched by the outstanding Divine Order Without God, grooves and rabid drumming barely taking a breath before unloading their delicious nasty abuse. The track is a hostile environment for senses and emotions, a rancor clad sonic landscape which ignites even greater hunger for the band’s unbridled inventive vitriol. Within that harsh climate the guitar play of Couch is fully magnetic whilst Nelson sucks the air from the lungs of hope and calm with a toxic bitchery which intensifies the poison of the song.

The closing Souls Diseased By Faith takes the EP to another high, it’s exhausting consumption of the senses a fascinating creative beauty and the beast, animalistic almost feral intensity and confrontation driving the aggressive suasion whilst an almost classical bred beauty breeds a melodic and sonic imagination which virulently engages the passions. It is a tremendous finale, the pinnacle of the EP and a lasting confirmation of the new heights Aetherium Mors has attained. British extreme metal is in strong imaginative hands if this duo continues on this impressive path.

www.aetheriummors.co.uk

9/10

RingMaster 13/11/2013

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