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

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Foetal Juice & Human Landfill Split

Split artwork

Picture the scene, you are lying naked on a cold floor, your entrails being clawed from your thrashing body as surrounding bones are ground into the merciless surface under you. Despite the assault all you can think about is the swinging hypnotic light accentuating the visceral portrait. That is what listening to UK extreme metallers Foetal Juice is like, a savaging violation of the senses equipped with a bewitching of contagious grooving and irritable hooks. Further proof comes in the new split release from Grindscene Records which lines up the Bury quartet with the equally mercilessly vicious and equally magnetic US band Human Landfill. Unleashing six tracks of grind and death metal inhospitality; the EP is a mouth-watering intrusion which just gets under the skin.

Since forming in 2005, Foetal Juice has been an increasingly potent and striking protagonist on the British extreme metal scene. An early demo was followed by their self-titled debut EP which certainly nudged attention their way, though it is fair to say that it was A Split Worse Than Death, which saw the band share its twenty one tracks with Basement Torture Killings, Decimation, Zombified, and Nailed, and certainly their Big Trouble in little Vagina EP, both in 2013, which sparked new intensive interest in the band. Live too the band has been earning an increasing reputation and acclaim, shows with the likes of Entombed, Wormrot, Exhumed, The Rotted, and tours with acts such as Desecration, Basement Torture Killings, and Zombified only pushing the band into broader spotlights. Now they have this new split to twist up British metal and listener’s psyche, which they do with devilish efficiency and craft.

Their first track is recent single Albert Grindstein, a gem of an incitement whose video upon its solo release gained 30,000 views in a handful of weeks. A sonic lure and beats keen to escape their leash make the first trespass of the ears, their bait swiftly ripped apart for vitriolic grooves and thunderous rhythms to descend ravenously on the senses. It is a gripping assault, the raw vocal squalls being driven by caustic venom whilst guitars cast an inescapable web of acidic grooves and predatory hooks. Behind the bloodlust there is that swing hinted at in the opening of this piece, its swagger as prevalent and persuasive as the individual textures which collude to exploit the listener’s weakest points. It is a treat of a track matched swiftly by Blue Waffle. In some ways this is an evil, more brutal scourge of sound and intent, but again it has that contagiousness which rich grind and death metal thrives on to express deeper and further reaching aspects. It is also more bestial in presence, a bear like smothering which voraciously barks rather than gutturally growls vocally, but devours wholly all the same.

The band’s final offering is Tumour Has It, and it is more of the corrosive same just in an individually appealing and intimidating guise. Grooves and twisted rhythmic assaults create the irresistible canvas over which vocals spill every fluid ounce of their rancor and hate. As the previous pair, the song is sheer creative spite and virulent temptation for any grind and extreme metal enthusiast.

There is much less to reveal about Ohio band Human Landfill as background, though they appear to be a duo consisting of guitarist/bassist Larry Brown and vocalist/drummer Shawn Slusarek, the latter also a member of death metallers Necrophagia. Again they bring death metal and grindcore into a flavoursome brawl, as evidenced on the split, before which a single and well-received debut EP, The Dead Are Not Silent has been tucked into their antagonistic belts.

   Acid Vat Descent is their opening play and instantly there is a raw intensity to their sound and song compared to that of Foetal Juice, you could almost say a sombre nature to its outpouring of malice. The song has a few strings to its violent bow though; darker grooves and a great scarring blend of vocals bringing the unpredictability and adventure always needed. The song seems to lose more inhibitions as it explores its addictive qualities and though the flame of a solo does not quite work for personal tastes and the fade out frustrates, the track is a great introduction to the band.

Their other pair of tempests similarly stirs up appetite and increasing enjoyment, Corpse Wine first providing a torrent of primal riffs and sonic acidity within an evolving gait of rhythmic predation. Whereas Foetal Juice’s tracks seem to instantly ignite the passions and hunger, Human Landfill takes a slower but persistently persuasive route to, certainly on the EP, breach the same kind of success. Their second song is a compelling offer but soon overshadowed by the outstanding Dirty Bomb Euthanization. All the hints of uniqueness and manic agitation in design and delivery found in the first two songs come to full life on their third, the track at times a tsunami of lethal beats roared on by vocal rapacity and in other moments a twisting temptation which bares all the wiles of a demonic temptress.

It is an impressive end to an excellent union of two of the world’s exciting emerging bands. Foetal Juice is a bit of a known prospect already to be fair and has only enhanced and pushed on again their thrilling presence whilst the relatively unknown Human Landfill, until now, have surprised and only highly impressed. So there we have it, another fine split all metal fans should explore.

The Foetal Juice & Human Landfill Split is available via Grindscene Records now @ http://grindscenerecords.bigcartel.com/product/foetal-juice-human-landfill-split-pre-order

https://www.facebook.com/FoetalJuice

RingMaster 05/03/2015

Copyright RingMaster: MyFreeCopyright

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Dark Century – Murder Motel

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A release which can just as easily raise a wide grin as it can an urge to go violate something, Murder Motel is an exhaustive and exhilarating corruption from a band clad in imposing and compelling devilry. Dark Century comes with a potent buzz behind them and their new album easily reveals why as it ignites ears, imagination, and a greedy appetite for their fusion of death, thrash, grind with a viciously healthy course of hardcore. It is a release which has plenty in it to feed expectations but also comes with a just as rich soak of originality to thrust The Canadian quintet into a spotlight of its own.

Formed in 2001 by guitarist Martin Gendreau, Dark Century has built an impressive reputation and presence over the years around Montreal and beyond. It is a time sign-posted by their excellent and well-received debut album Days of the Mosh as well as a live presence which has seen them alongside the likes of Aborted, Misery Index, Quo Vadis, Rose Funeral, Exhumed, Fleshgod Apocalypse, Goatwhore, Origin, The Faceless, Battlecross, Fuck the Facts and many more as well as light up numerous festivals. With a new line-up Dark Century return with their monstrously towering new incitement, an album which puts the band on a new plateau. Produced by Chris Donaldson (Cryptopsy, Mythosis, Erimha, The Agonist, Derelict, Neuraxis) with Gendreau, Murder Motel is a storming onslaught from start to finish, a ravenous bestial proposition veined by incessantly riveting imagination and unpredictable twists.

     In Our Veins starts things off and is soon careering through the same network of the listener with riffs grazing every surface they can find and rhythms voraciously pummelling the senses. It is a ferocious start which aided by the raw thrust of the vocals and that rhythmic tsunami, only intensifies its assault the further into its destructive arms you sink. Drummer Steve Burns is exceptional from the off but also is the stringed ravishment from Gendreau whilst the slightly varied and excellent caustic tones of vocalist Leather King and the predatory bass incitement of Francis Lafrenière equally steal their share of attention and acclaim.

The fine start hits another gear with the following title track where again a mere breath is taken before a disorientating rhythmic assault and bass grilling consumes the senses. Little time passes neither before a swagger and violent swing to the track wraps its irresistible temptation around a by now rampant appetite, the track lurching over and provoking the emotions with mischievous designs and violent intent. Here as with a few songs there is something familiar to the proposal offered but it only eases the accessibility of the track for the eagerly offered passions. The solo from Erik Fernet-Evans is a plume of intrigue and drama to colour further the potent canvas of the song as it drifts away at its end for Torticolis to seize its portion of attention. Rabid and intensively imposing, the track grips with carnal intent and flesh savaging sounds, its breath toxic and riffery a torrential assault driven harder by the severity of the Burns’ rhythmic spite.

Knees might already be buckling at this point and senses cowering in fear but hunger for more is insatiable and fed healthily by the brief but intensive predation of Ice Breaker and the fearsome rage of new single Kill The Crowd. The latter’s touch is as violent and scarring as anything heard before on the album but is aligned to a masterful persuasion of heavy metal coaxing and hardcore ravaging. Add the irresistible swinish grind twists and vocals plus the teasing cowbell, as well as the horde chants and you have another irrepressible capture of thoughts and emotions, but one exceeded even more by the brilliant Dead Birds. It is one of those addictions impossible to shrug off with the track from its anthemic rhythmic entrance stamping its authority over ears and excitement, crowding and preying on the senses with primal riffs and vocal voracity. It is just one of the structures ready to subjugate the passions, a heavy intensity laden consumption taking its sizeable portion of the adventure under its control just as firmly as the underlying but easily detectable excitable grooves have their appealing say.

   The four second Trio du Bûcheron comes next and there really is little to say about it. Neither working as an intro nor making any impact being so short, it is just there before both Cholestérol and Chloroforme cast their severity over ears. The first is another merciless gorging of the senses with piggish vocals, hellish rhythms, and a sonic weave of skilled enterprise igniting the otherwise pleasing if underwhelming song, in comparison to previous maelstroms. Its successor is similar in its presence, formidable and undeniably impressively crafted but failing to spark the same rapture. Nevertheless both keep band and album in solid control before the closing pair of firstly Mosh Test Dummies and the closing Gore On My Snare ensnare ears to inflame responses all over again. The first of the final two initially stalks and stares venomously at its recipient, its approach reserved but only for a deceptive moment as the song soon uncages its sinews and rigorous ingenuity to smother and savage all before its predatory strides. Its companion is pure blistering barbarity, everything from riffs to rhythms and vocals to creativity a masterclass of bloodlusting malevolence. It is demanding physically and emotionally making a scintillating conclusion to a tremendous provocation.

The album comes with recommendations that fans of bands such as Dying Fetus, Cannibal Corpse, Six Feet Under, Hatebreed, and Annihilator will get a hot flush from Murder Motel, but we suggest anyone with a lust for inventive and revelling extreme metal will find Dark Century a new best friend.

The self–released Murder Motel is available now @ http://darkcentury.bandcamp.com/album/murder-motel

www.DarkCentury.ca

9/10

RingMaster 19/04/2014

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Gravehill – Death Curse

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For a pestilential onslaught of black, death, and thrash metal, moulded into one voracious tempest of raw and dirty metal it is unlikely many releases will surpass the new uncompromising ravaging of US corruptors Gravehill. The band’s third album Death Curse is a bestial examination of the senses; savaging violations soaked in causticity and stripped to their primal bones and intent. At times an anthemic contagion and in others simply a predatory gnawing of the senses, the album is an increasingly potent annihilation which evolves an initial strong showing into a truly impressive and exhausting incitement. There is no wastage of frivolous trickery or excessive showing off just concentrated undiluted primeval metal at its best.

The Californian band was formed in 2001, a trio which took little time in unleashing debut demo The Practitioners of Fell Sorcery; it was short lived triumph though as Gravehill disbanded soon after. 2006 saw the band reform, original drummer/founder Rhett “Thorgrimm” Davis linking up with vocalist Mike Abominator. A second demo Metal of Death in 2007 was followed by the EP Metal of Death/Advocation of Murder and Suicide the following year from the quintet. First full-length Rites of the Pentagram was next uncaged on Enucleation Records to strong reactions in 2009 as also its re-release in a package with a third outing from the band’s first demo via Ibex Moon Records a year later. The line-up saw a change in 2011 with guitarist Matt “Hellfiend” Harvey (Exhumed, Dekapitator, Repulsion) joining the band before second album When All Roads lead to Hell on Dark Descent Records. The next year saw another shift in personnel with both Hellfiend and fellow guitarist Rob “Bodybag Bob” Babcock leaving due to extensive touring demands with Exhumed to be replaced by CC DeKill and Hell Messiah.

With the new members slotting in with ease alongside Thorgrimm, Abominator, and bassist J.T. Corpse, Gravehill set about creating what CDBO04.pdfhas emerged as their most ferocious and destructive triumph to date. Again out through Dark Descent and featuring guest appearances from the likes of Chris Reifert and Eric Cutler of Autopsy as well as Kam Lee (Massacre, Death and Bone Gnawer), Death Curse is a masterful protagonist of the senses from the exceptional artwork provided by Christopher Moyen (Incantation, Blasphemy)to its last lingering venomous note. Though the introductory opener Gates of Hell does not show the storm to come, its epically sinister portent of sonic certainly brings an intimidation to bear on the senses, a brewing threat soon realised with the explosive entrance of the title track, riffs and rhythms a merciless rampage whilst the coarse even rawer vocals scar air and ears. Eager in its thrash driven gait and acidic in the eruptions of sonic enterprise, the track is a magnetic encounter which maybe does not trigger an immediate hunger but with good variation to the vocals and a resistance proof groove certainly has full control of attention.

At Hell’s Command is much swifter in taking a submission from senses and passions, its yawning sonic bait from the first second irresistible and the spark to an incendiary examination of a brutal rhythmic battering and a venomous and compelling sonic intrusion. There is an insidiously commanding element to the song, and subsequently the album, which manipulates the imagination and emotions into subservience either instantly or over time as in the case of other songs, but always succeeding in its intent. The guitar toxicity of CC DeKill and Hell Messiah is especially impressive and tempting, their designs as in all aspects of the release, skilled and striking but never dosed with a wasteful indulgence.

The following Open Their Throats emerges from the fluid gothic like link between it and its predecessor to prowl around the ear with a doom bred stance. The song stalks with venom dripping from its rhythmic jaw and slavering riffs whilst the guttural intense vocals add further insatiable predation. Intensity and violence waits in the shadows before being freed from their reins for a fiery antagonism driven second half of the impressive rage, vocals and guitar craft again formidable lures within an equally compelling rhythmic enticement.

Both Fear the Reaper and Unending Lust for Evil take release and passions to another level, the virulently contagious drum and bass entrance to the first opening a doorway to thrash anthemic glory within a death seeded animosity whilst its successor digs deeper inside itself for a blacker toxin with which to infest song and listener, its constantly shifting attack and creativity a ridiculously infectious almost salacious offering. The pair of tracks marks the pinnacle of the album, though to be fair its whole range is never far from the lofty filth encrusted heights of the two as proven by the rapacious malevolence of Black Blood Rising, the blackened scourge a welcome primordial predator in modern extreme metal.

The album is at its strongest in its latter half with the final two songs continuing the intensive potency and senses gorging maliciousness of the last few offerings. Crucified is the loudest boldest anthem on the album, an irritable nagging soon recruiting full allegiance with its group vocal baiting over heavy booted rhythms and riffing. Speared by excellent sonic craft from the guitars, the song is a leader of rebellious intent igniting the pulse rate ready for the closing doomy weight and thrash swing of The Ascending Fire to exploit with its equally anthemic power. The song makes an outstanding last assault to an addictive treacherous plague, a Death Curse which violates and thrills with even voracity.

http://www.gravehill666.com

http://www.facebook.com/gravehill

8.5/10

RingMaster 02/04/2014

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Foetal Juice – Big Trouble In Little Vagina

Foetal juice band pic

Savage and ridiculously addictive, Big Trouble In Little Vagina the new EP from UK death metallers Foetal Juice is instant evidence of a brewing vibrant storm within British extreme metal, making the suggestion that it is coming up to a glorious period. The five track release is a full on predator, a fury of insidiously contagious mayhem with an old school heart and breath driven by a modern technical and ravenous craft which rivals and pales releases trying to sculpt wholly new ventures for the genre.

Formed in 2005, the Manchester quartet has already earned and built a strong stature through their previous releases and live performances which has found the band sharing stages with the likes of Kastrated, Ghoul, Cannabis Corpse, Neuroma, Wormrot, Exhumed, Severe Torture, Anaal Nathrakh, Desecration, Prostitute Disfigurement, The Rotted, Slit, Life Denied, Cerebal Bore and many more. Their self-titled EP of 2010 brought firmer attention upon the band but it was the split release A split worse than death via Grindscene Records which really awoke major recognition for the band and their contribution to the release alongside the bands Nailed, Basement Torture Killings, Zombified, and Decimation. Its success and their striking efforts led to the label immediately signing the band up for the creation and release of Big Trouble in Little Vagina, a wise move you realise as its impressive powerful presence consumes the body.

The title track smears the senses in sonic vehemence to start things off, it’s opening breath of barbarous rhythms from drummer Rob 62657062519Harris and the air scorching riffing and sculpting from guitarist Ryan an instant fuse to total attention and the stalking stride and heart of the song. Vocalist Sam Read growls and squalls with guttural irreverence, ensuring lyrical narratives are unavoidable if often unintelligible. It works perfectly and makes a bestial provocateur to the groove licking fire of the sound. With a danger of whiplash to its recipients, though its generally even predatory pace ensures recklessness is absent for the main, and torrential venom to its corrosive invention, the track is a tremendously addictive start to the EP, one soon backed up by its successor.

Brewkakke, a re-recording of their 2012 single, also takes no time to contemplate its actions, riffs striking with ravenous intent from the off and the rhythms whipping splinters of cartilage from the ear with their muscular animosity. Even more primal than its predecessor the track leaves full appreciation the only option before its truculent jaws, the bass of Ben Read even with its less expected reserved sound and savagery a stirring instigator whilst the guitars again make a compelling toxicity which seeps through every pore of senses and imagination to seal the deal. The track is not quite as breath-taking as the first but with greater intensity and cruel dark hearted persuasion it is its equal.

    Semen Evil Smear No Evil is also a re-recorded track, this time taken from their debut EP. Accomplished and ruthlessly efficient in securing the already greedy appetite, the track is a blaze of vitriolic vocals and a mutually venomous guitar ravishing of the senses. There is something missing to place it at the levels of the previous tracks and those to follow, but the song is nevertheless a rampant creative violator which gives satisfaction another healthy dose of pleasure.

The final two tracks Serpents Of The Northern Lights and Service Station Masturbation, do take a grip of greater plateaus, the first through its sheer quarrelsome presence and corrosively absorbing destructive carnality. For most of its annihilatory flight the track storms with plenty to keep expectations employed though it is brought with a craft and violent flair which makes them escape banality. It is the constant twists and flares of adventure which can often slip by such their lack of intrusive intent that bring the assault to greater life and intrigue though for a thrilling result. The closing track takes the top honours on the release, its magnetising grooves and again the excellent mixed vocal scowls a template for lustful thoughts whilst the crippling bombard of outstanding rhythms and the exhaustive invention within the ingenuity of the guitar molestation is a seduction with the guile and rabidity of a pack of wolves.

Foetal Juice on the evidence of the excellent Big Trouble In Little Vagina has all the skills and invention to help take UK extreme metal to the world. It maybe looks away from originality with a sound which reminds of bands such as Gorerotted, Cerebral Bore, and Deicide, but for technical craft and passionate energy not forgetting explosive enterprise, the EP is a majorly promising and thrilling proposition.

www.facebook/foetaljuice

8.5/10

RingMaster 10/10/2013

 

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Exhumed – Necrocracy

1st Keeper

It seems almost odd to say that a release from a band which has been creating over two decades worth of impacting high grade destructive metal has now found maturity in sound but that is the notable thing about the album Necrocracy. With no slight on anything which came before from them, San Jose band Exhumed has with their new release found a restrained or patient stance to their mix of death metal and grindcore, a maturity. The release still storms the barricades and takes the senses on a malevolent ride of helter-skelter intensity and lethally carnivorous invention but there is a thoughtful timing to its premeditated prowl and ravenous consumption which has arguably not been there before.

Following the acclaimed All Guts, No Glory album of 2011, the Relapse Records released Necrocracy sees the appearance of another change in line-up in the band, Exhumed founder and vocalist/guitarist Matt Harvey joined by bassist/vocalist Rob Babcock, drummer Michael Hamilton, and returning band member guitarist /vocalist Bud Burke, who originally played bass with the band from 1999 to 2003. The new collective of talent seems to have inspired a shift in the attack of the band, melodic weaves and passionate imaginative fires offering potent persuasion alongside the ever savage grinding touch and enveloping sonic pestilence Exhumed are renowned for. It is not a dramatic twist or evolution in the sound but one with strength to inspire a new breath of hunger for the band.

Coins Upon The Eyes instantly rips out the jugular, riffs and rhythms combining as they drop upon the senses from a heady height necrocracy_1500before rampaging with primal toxicity and torrential maliciousness. As the guitars churn up and score flesh the bass of Babcock finds a throaty growl and presence carrying one of the best and most intimidating voices heard this year whilst the vocals of Harvey, perfectly assisted by other members, casts an intrusive caustic web over it all to elevate the immediate call and potency of the track further. It is the guitars and their melodic flames though which secure the complete submission of the passions, their craft and fiery imagination a thrilling temper and compliment to the aligned sadistic sounds.

The following brawling The Shape Of Deaths To Come snarls and claws at the ear first, persistent slashes of riffs and the perpetually suffocating bass narrative offering the darkest oppressive shadow, nailed into place by the excellent rhythmic thrashing delivered by Hamilton. As its predecessor the song flourishes to greater depths with the sonic majesty and inventive acidity of the guitars though still the heavy corrosive nature of the sound and track leaves the heart ablaze the strongest.

It is an impressive start which already leaves many other similar genre based releases floundering, something the title track with its riveting acrimonious rhythmic start reinforces. Before the track explodes the impressiveness of the individuals within Exhumed is already a towering persuasion, from guitars to bass, drums to vocals, everything and everyone is at a height debatably missing before in the band. This could be their greatest line-up and certainly as the song unleashes its merciless rabidity and mordant charms, there is no reason to go back on that suggestion. Again insatiable in intent and devouring hunger, the track rises in intensity and violent breath along its sonic shaft, the increase leading to an expulsion of venom evolving into a maze of sonic captivation and acrid energy, the song a furnace of satisfaction by its end.

Through the raptorial ferociousness of Dysmorphic and the break neck vitriolic fury of Sickened the release continues to pleasingly scar ear and senses with biting expertise whilst the deliciously intriguing (So Passes) The Glory Of Death with its flowing creative evolution, and its successor the magnetically vehement Ravening explore darker dangerous corners of sound and emotions within again blistering ferocity.

That ferociousness is taken to its loftiest plateau with Carrion Call, the track the mightiest predatory despoiler on the album. Unrelenting in its brutal voracity and just as ironhearted in its exhausting intensity, the track is an immense slab of barbarous glory. The same can be declared about final track The Rotting, the confrontation an uncompromising scourge hell-bent on annihilation though it is not adverse to deceptive temptation through the excellent heated melodic solo.

Necrocracy is an excellent release with only one issue holding it back from classic status, though probably a relatively big one for some.  Apart from a couple of songs the album lacks the lure which makes it memorable and persistent away from its presence, the hooks to recall and replay at any time without aural assistance. It is surprising such the impact in its company but something just holding it back. Exhumed has created a thrilling encounter nevertheless, one of their finest invitations to date which should be greedily accepted.

https://www.facebook.com/ExhumedOfficial

8/10

RingMaster 06/08/2013

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Nolentia: May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All

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    Is it possible to enjoy an album like May the Hand that Holds the Match that will Set this World on Fire be Blessed Above All when it is such an abrasive and destructive endurance to suffer? Quite simply yes though it took time to make its final persuasion though it might just be it wore down the defences and forced a submission. Either way by its completion the new album from French agiteurs Nolentia leaves one infernally violated but rewardingly spent.

Released through Kaotoxin Records, May the Hand… is a furnace of seventeen unbridled grindcore annihilations. Fusing a mix of grind, hardcore, doom, crust, and sonic blistering, Nolentia rip the senses into whining victims whilst simultaneously burning synapses with a venomous acid which eats away until only mental sushi is left.  As you can imagine the band which formed in 2007, is not an encounter which holds back on unleashing pain and a merciless form of intensity which permanently brands, but at times it is also a tempest with the most compelling and bewitching of grooves and imagination submerged within the full on abuse. From their first demo Sell Your Soul to Grind’n’Roll! of 2008, the band found themselves sharing stages with the likes of The Arson Project, Benighted, Dagoba, Disgorge, Imply In All, Inhume, Knut, Sylvester Staline, Textures, and more. The following year brought their debut album …One Loud Noise and It’s Gone, a release which put them on the horizon of a great many with its unpredictable squalling sounds. During the next years the Toulouse trio successfully left Brutal Grind Assault 2011 buckling under their storm with bands such as General Surgery, Maruta, and Wormrot, playing alongside bands like Atara, Exhumed, Magrudergrind, Mass Grave and Rotten Sound, and late last year the signing with Kaotoxin.

Their second album is an intense and dark monster which either invades and consumes with the predatory instinct of an exhausting 760137001720_TOX017_Nolentia_artwork_1400x1400_300malevolent swamp or just chews up and spits out the listener in a violent brawl of sonic outrage, often combining the two as with opener The Boiling Frog Principle a track which prowls with a malice which explodes into sheer nasty turbulence. As throughout the album, the bass in first song is a deliciously intimidating and bruising spoke in the wheel of sanity, its insidious breath as corrosive and threatening as the sonic discord fervour which slashes with sabre like accuracy on the ear elsewhere.

Songs like A Lament for the Road Kill and Xie Xie continue the pleasing unrelenting heavy ache in sound and effect with a varied yet uniformal sonic profanation, though they do not spark any lasting addiction to be honest. That is soon offered by the soon to revel highlights of the album starting with Too Far Gone, a song which actually recedes in its aggressive stance to unleash hypnotic rhythms and a strangely seductive melodic wooing within the persistent heavy grazing. The album as it progresses gets better and more appealing, its mid waypoint where the convincing is won in the favour of the release, brought on by tracks like the mighty caustic barracking of Wright. The song is a magnetic assault with twists in attack, pace, and invention to leave one equally intrigued and compelled as they are left smarting under its demanding assault.

Throughout the bass is a thrilling aggressor and in The Ticking of the Clock, a brutal hunger upon the ear which drives the destruction of the song deeper than ever. The dual vocals rip through flesh across every song on the album, their two levels of extremes a perfect ravishment against the equally devouring sounds and here they find their nastiest pinnacle. Gasoline and All About, the best track on the release, leave their own distinct sonic rape on the senses with the latter stealing top honours through its stalking gait and teasing sonic flamed groove which spears the thunderous ruptures which explode within the delicious inflexible grind.

May the Hand… is certainly not an album for everyone, as quite simply it is a release which either hurts or pleasures; for those who truly connect with its grindcore might though it satisfyingly does both. If the likes of Pig Destroyer, Brutal Truth, and Napalm Death hit a chord than Nolentia definitely needs an investigation, they convinced us…eventually.

http://www.facebook.com/NolentiaNoise

7/10

RingMaster 04/02/2013

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