Megascavenger – As Dystopia Beckons

art_RingMasterReview

With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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Hereza – Misanthrope

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Offering a thickly promising and swiftly engaging slab of groove infested death metal, Croatia band Hereza make a rather appetising introduction to their presence with debut album Misanthrope. It is not a release to set a cat amongst the pigeons of extreme metal but with additional punk encrusted tenacity and blackened fury, it certainly makes for a very flavoursome base for the band to push on from.

Formed in 2014, the duo of Slobodan Stupar (guitars, bass, drums, backing vocals) and Ivan Kovačević Kova (vocals) take their seeds from the old school origins of death metal but vein their creativity with the potent essences previously mentioned resulting in a familiar but persistently enticing onslaught. Seemingly embracing the inspirations of bands such as Entombed, Entrails, Misery Index, and Marduk, Hereza take little time in gripping attention with Misanthrope and its opening title track.

The song flies at the senses with sonic nostrils flared and rhythms hungry to inflict intimidation. It is a furious and pleasing proposal enhanced by grouchy vocals and emerging predatory grooves, each a fresh threat from the song’s malevolence. With especially its intensive beats ringing in ears, it makes way for the similarly voracious tempest of Grob. Leaving little time for a breath to be swallowed, the track is a hell for leather assault with the skilled craft and enterprise of Stupar impressing. There is a potent rawness to song and indeed album which accentuates the hostile and unforgiving nature of release and sound, an intensive tonic emulated in the broader caustic rock ‘n’ roll of Kraj and the darker toned Unholy Flame of Eternity. The blend of both sets of vocals amidst a spicy melodic adventure lures potently within the first of the two songs whilst the second is marked by a more classic metal infestation of hooks and a contagious swing to beats and riffs alike.

We Are the Disease provides a major pinnacle to the album, its feisty and lighter swagger of sound and character instantly anthemic without defusing the vicious roar and violent heart which HEREZA_Misanthrope_COVERlies within its infectious breast. Grooves are just as insatiably addictive too, and though the track is really barely scratching the surface of something truly new it rocks like a bitch taking body and emotions with it. Its catching infectiousness is matched in Objesen which emerges from a sinister intro to flex muscles and rhythmic animosity with bestial potency. Grooves again make the difference between a good and a great song but are in turn impressively backed by the vocals and simply the energy of the track to swiftly recruit eager submission to its lures.

    Whole World Burn with its opening Michael Caine sample stalks ears next, lurching over and snarling at ears with predatory maliciousness while both the corrosive hardcore corruption that is Bullet Storm and the tangy sonic adventure of Cancerous Demise keep album and satisfaction boiling quite nicely. All three offer some inventive and appealing twists to their savage bellows, each individual to the next and employing well used but in the band’s hands, tasty creative ingredients.

That variety continues in the punk driven Pills, the song taking the genre’s raucous antagonism into its death metal foraging of the senses with a furious chorus to match, whilst Noc Zivih Mrtvaca unearths a delicious dirt encrusted bass rapacity to prowl its bruising and volatile belligerence fuelled rock ‘n’ roll. Each leave healthy impressions and pleasure in their grudge loaded wake, the rhythmic lure of the latter powerful bait, before the excellent Death Army March stomps over senses and into the passions with a heavy footed animus. Another peak of the album, it is pure militant bad blood with vocal and creative spite to match.

Closing with the outstanding Erase the Disgrace, a song with the best entrance by far, a haunted sepia lit climate which subsequently erupts into a voracious tempest of aural ravishing, and finally the peddle to the metal charge of Mud, the album inspires full satisfaction with its proposal. Misanthrope is not loaded with surprises apart from being a striking unexpected debut, but succeeds in igniting only good feelings and reactions to its potential soaked presence, and that is more than enough to warrant an investigation by all extreme metal fans.

Misanthrope is available now via PRC Music @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1242

https://www.facebook.com/herezametal

RingMaster 11/02/2015

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

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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

 

Entrails – Berzerk

Entrails - Berzerk

    As Swedish death metallers Entrails work on the creation of their next full-length ferocity of terror, the band unleash new single Berzerk, to temper the anticipation and fill the gap to their future expulsion of distinct old school ruin. Consisting of two prime pestilential tracks, the 7” comes swiftly after the band’s split release with Graveyard in January via War Anthem Records. As mentioned it comes as a break in the preparations of Entrails next full onslaught, the band explaining “With a small sidestep from our work in the massive rehearsals for the new album we decided to do a halfway release. The new song ‘Berzerk’ is a straight forward fist of fury and Death metal terror, with some eerie elements. It’s a natural step from our latest album ‘Raging Death’.  It will also appear on the next long player, slightly different in every term as this single was recorded and mixed by Jimmy in Entrails own studio.”

      After the success and power of last album Raging Death last year, it did not take long for anticipation to rear its greedy head for more of the evolving potency and adventure of the band, something Berzerk brings a small and potent meal for. From the opening caustic claws of sonic predation and rhythmic provocation, Berzerk stalks and pressures the senses, sizing them up before the ever vindictive growls of Joakim Svensson abrase with a malevolent narrative and unforgiving squall. The guitars of Jimmy Lundqvist and Pontus Samuelsson snarl and ravage from their first note too but equally as the song submerges into a haunting dark ambience, they entice and seduce with unfussy lures for a precise coaxing. Constantly driven by the antagonistic beats of Adde Mitroulis alongside the prowling rapacious throat of Svensson’s bass, the song is soon returning its voracious jaws and energy upon its prey as the track comes to an uncompromising finale. It is hard to say that there is anything dramatically new from that shown on the last album but certainly you can feel and hear sonic fingers and drifting shadows looking towards stretching the band’s existing boundaries.

    The second song on the single is a cover of the Heavy Load track Dreaming. Entrails take it through their own dark toxicity and instinctive aggressiveness, giving the track a new aspect to explore and enjoy. Though not as impacting as the title track, the song makes a worthy addition to the release and the attention of the listener, the band’s craft and sonic cynicism something different and more intimidatingly intriguing than the original.

    Production wise the release does feel more like a demo which is no real issue, its sound dense without the dangerous spark you expect from the band but with the album yet to near the recording stages you get the impression that certainly Berzerk has a little more to find and give before its appearance on the full-length. Nevertheless the Metal Blade Records released single provides a satisfying and tempting snack as we wait for the next scourge from the band.

https://www.facebook.com/Entrails666

7.5/10

RingMaster 06/03/2014

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Screaming Finalities: an interview with Jimmy Lundqvist of Entrails

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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

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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

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Entrails – The Tomb Awaits

With a release of the darkest intent and the relentlessness of a reanimated extinguisher of life, Swedish death metalers Entrails return with their second album hoping to and more than likely succeeding in, laying waste the next multitude of souls to fall before their monstrously intense sound. The Tomb Awaits released via Dark Descent / FDA Rekotz is an aural beast standing proud and tall side by side with the growing multitude of old school Swedish death metal bands and releases that are lurking and emerging from the dankest pits and blackest shadows currently. It shakes its targets to the core whilst gratifying them even more deeply, showing that things influenced by the past do not have to come without a vigour, potency, and an attack that is as harsh as modern times can deliver.

Though formed in 1991 and having in those early times recorded rough and in the end unacceptable demos to band founder Jimmy Lindquist, their debut release did not come until 2010 with the strongly acclaimed Tales from the Morgue album. The massive delay came down to the fact the band split up early on and did not resurrect until 2008, when they then re-recorded many of the early tracks and eventually released them as part of their debut album. Now The Tomb Awaits goes even further in satisfying their fans and the anticipation inspired from the debut as well as undoubtedly gaining an even larger and more fervent following. 

It is worth again reminding ourselves that the band began two decades past, seeing in and participating in the birth of the genre, the original sound influencing and flexing its muscular power within The Tomb Awaits. In some ways comparing them against new bands that try and often just fail in their attempt to reanimate the aspects and sounds that made Swedish death metal so powerful and inspiring is unfair, Entrails are one of the originals now simply infusing current sounds and progress to expand on their own creations and ideas.

The quartet of Jimmy Lindquist (guitars), Joakim Svensson (bass/vocals), Mathias Nilsson (guitars), and Adde Mitroulis (drums) have unleashed twelve angry and devastating tracks  on their album that make the earth tremble as they bring forth an intensity to see off the brave and make mindless wrecks of the weak. The album starts off on the instrumental melodic beauty of ‘The Tomb Awaits’, though brief it attempts to fool the senses with its glamour and siren like strains and almost succeeds until the bedlam cries of the wretched break through at its end revealing that the gates to hell are now open. ‘Unleashed Wrath’ hits hard and low to confirm the fact, the guttural strains of Svensson bringing forth venom to match the driven violence of the music. The album has taken hold and is in no mood to let go as the subsequent tracks prove.

The Tomb Awaits has an impressive intensity across its consuming bulk but the likes of the incessant senses stripping ‘Crawling Death’, the light and shadows of ‘Undead’ thrusting its evil potency and gang vehemence forth with some blazing guitar solos to illuminate the way, and the black hearted declaration of ‘End of All Existence’ with rampaging riffs, seamless tempo changes, and enough intensity to tear flesh from the bone, make the album a force not to be denied.

It is obvious upon hearing The Tomb Awaits the band have not turned over new stones or waded through fresh waters of creativity but that is the point and the appeal of the release and Entrails’ approach. The band began in and is steeped in the genesis of the genre, it is their driving force and musical breath and the reason they sound as they satisfyingly do. They may not be openly original with the likes of Entombed, Grave, and Dismember an obvious comparison, but there are few that make such powerful and striking old school metal better than they do. The Tomb Awaits may not be essential listening but only a fool will not give it a go.

RingMaster 15/09/2011

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