Architect Of Seth – The Persistence Of Scars

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The Persistence Of Scars is an album which leaves you bruised and disorientated, mentally exhausted and at times bewildered, but mostly the debut album from French Progressive death metallers Architect Of Seth, leaves you transfixed and aggressively keen for its unrelenting unpredictability and technical magnetism. It is a demanding release which definitely needs a concentrated time to unravel its creative maelstrom, something which arguably is never wholly achieved even after a tide of visits, but it is a ‘chore’ always welcome and rewarding.

Architect Of Seth was forged in 2006 as a solo project by guitarist/vocalist Paul Rousseaux who released a pair of demos, Eldorado that same year and Pax-Labor in 2007. Subsequently guitarist Yohann Kochel linked up with the Caen project, expanding a sound and depth which takes inspirations from the likes of Death, Theory in Practice, Coroner, Pestilence, Nocturnus, Bathory, Emperor, Martyr, and Necrophagist into its technical and ravenous invention. The Persistence Of Scars is the pair’s debut album, a creative tempest exploring themes of hate, science, religion, and nature within a ferocious furnace of imagination and hostility which whether venomously cascading or rabidly savaging the senses unleashes a spellbinding intrigue. The album is often mentally corrosive and physically punishing, rarely an easy listen but always offering a lure which locks in the imagination and appetite.

The Persistence Of Scars opens up with LFDY and its gentle stroking of evocative melodies. It sets a peaceful and warm scene, the guitars casting colourful bait and coaxing skies before a lumbering rhythmic intimidation and darker shadows to all facets, cloud over the landscape. It is a portentous breath now igniting the imagination, the foreplay to a thrash driven onslaught of rapaciously intensive riffs, animosity clad rhythms, and the hoarse scowls of Rousseaux. It is a relatively straight forward assault, though already teasing as sonic and unpredictable designs begin to unveil their tenacity. Now settled into its tempestuous purpose, the guitars of the two protagonists twist and cast a maze of persistently testing enterprise through the song. It is the beginnings of a spiralling technically striking ingenuity which at times makes perfect sense and in others just loses thoughts and understanding, which is where repeat plays is essential with an album like this. There is cohesiveness and fluidity to it all though which never falters in its hold of an increasingly hungry appetite for what is developing and never derails the malevolent toxicity and ravenous brutality at the song’s core.

The first track is alone an exhaustive tsunami of predacious imagination, so with six more similarly sculpted propositions to come, a legacy of hard work is inevitable starting with Engender of Confusion. Riffs and grooves are immediate and as intensive as the rhythms alongside them, each worming under and pounding the skin respectively as the caustic spite of Rousseaux scars the air around them. With crystalline shards of keys flirting with ears within the by now merciless torrent of vicious charm and debilitating ideation, whilst orchestral tempting plays with emotions, the track sears flesh and thoughts as it seduces both ears and mind with insatiable inventive rabidity. Arguably easier on the psyche because of its relatively brief length compared to the first, the song also finds a greater clarity to its no less bedlamic ingenuity before making way for Transhumance Astrale. The third track takes little time in firing up the primal instincts with a torrent of thrash/metal suasion before warping it all with breath-taking skills and perplexing yet deliciously gripping, psyche violating creative intercourse. The track, as all, is a storm of technical mastery and constantly evolving revelations to again captivate and fluster, but most of all ruggedly enthral.

By this point already the album is wearing down the senses it has to be said, though not the hunger for more. As mentioned, in many ways it is not certainly physically an easy listen which is compounded as both Embrace of Anguish and Hybrid Consuming Flesh unleash their fiercely creative and intertwining inventory. The first of the pair brings some respite though with a mesmeric classically honed piano enticement to seduce ears and inflames thoughts initially. It is a bewitching piece which eventually drifts away for the impending storm. Thunderous rhythmic clouds and sonic strikes blow across the senses before a malevolent haunting and intensive juggernaut of provocative sound suffocates light and peace. Its instrumentation and aural narrative is mouth-watering, a tight capture of the passions which does lose some of its grip with the entering rage of vocals and manic invention with constantly unsettles in its turns and expulsions. At times the track is irresistible and in other moments pushes its boundaries beyond organic accessibility, yet still it entrances and steals the imagination for a pleasing if unsure success. Its successor is a more bestial provocation with a flank ferociously rippling with again unsettling ideas and creative incitement. It also offers a great emotive persuasion of keys at times, a beacon within the corrosive belly of the savage beast.

The album concludes with firstly the outstanding Tears Empty of Sadness, a track which finds a more balanced blend of extreme metal vindictiveness and technical exploration which is why it takes best track honours. Everything works perfectly, the invention of the band still flaming intensively but finding a more understanding fit with the toxic brutality of the song. Every song on The Persistence Of Scars impresses it is fair to say but this one shows the potential of the band most intensively as they further grow into and hone their undoubted skills and ingenuity. The song’s success is supported enjoyably by Teacher of Nocturna, another track to align the maniacal technical beauty and gut instinct severity of the band for a grievously strong and testing, but smoother to understand and relish creative onslaught.

The Persistence Of Scars is a great and demanding encounter which leaves a satisfied wake whilst suggesting that Architect Of Seth has the potential to create a classic ahead. This album is not it but holds all the pieces and keys to the potential sculpting of one.

The Persistence of Scars is available as a 7 track CD via Great Dane Records @ http://www.greatdanerecs.com/ or a 3 song download @ http://architectofseth.bandcamp.com/

https://www.facebook.com/ArchitectOfSeth

8/10

RingMaster 17/07/2014

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Burning Flesh – New Chaos Order

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Unleashing an irresistible nagging persistence through every track within its voracious body, New Chaos Order from extreme metallers Burning Flesh is a thoroughly captivating and exhaustingly invigorating beast. It is may be not the most original encounter but that is offset by the sheer weight and creative fire within the ravenous provocation, ensuring that its presence is a long-term and frequently explored incitement.

Consisting of members from both France and Switzerland, Burning Flesh took its first breath in 2005. The honing of their sound, with inspirations coming from the likes of Napalm Death, Behemoth, Severe Torture, and Blood Red Throne, and live performances followed before the band got down to making debut album Unconscious deformity in 2009. Recorded with Bruno Burel, the well-received album was uncaged in early 2010. Personnel changes ensued before by the latter part of 2011 the line-up of founders Lionel Fontana (vocals) and Anthony Martin (guitar) with Diego Graham (guitars), Guilluame Lagger (bass), and Paul Sordet (drums) was in place. New Chaos Order is the band’s full assault on world metal and it is very easy to expect Burning Flesh becoming under a rich spotlight if not quite with this certainly through future exploits.

The release rages against ears first with Rage, its opening sample soon quashed by the vehemence of riffs and brutality of rhythms which BF coverfollow. With raw uncompromising vocals unleashing the equally hostile narrative, the track is a destructive pleasure. A delicious spiteful grooving adds spice to the irrepressible temptation on offer whilst guitars and rhythms spare no degree of mercy in their malicious hostility. The tremendous ravaging is swiftly emulated by Corruption Of All Kings, another furnace of thrilling unrelenting provocation which violates and seduces simultaneously for welcomed wounds and raw senses. Switches of pace and intensity grinds intensively away just as devastatingly as the flailing riffs and rhythms across the demanding track continuing the impressive surge of the album.

Both Lies and Beginning’s End rip at the jugular with a torrential predation of carnivorous riffs and cruel rhythms next, the first arguably reining in its aggressive intensity for a more riveting web of melodic and sonic intrigue. To be fair as it is tearing the senses into strips it is a negligible difference but one which adds a new and needed flavour and design to the album. Across the album there is at times a close certainly surface familiarity to tracks and their attacking structures, and with a thick skin to the spite it very often needs a deep push into the heart of songs to split their animosity apart. The second of the two also brings an individual hook of rapacious intent to its corrosive quarrel but lacks the spark of its predecessors in many ways to stand as similarly virulent.

The insidiously hornet like lure of the title track comes next, its niggling groove a sweet sore you just have to push further for its antagonistic nectar. Once more rhythms and the intensity of the track are barbarous and with everything combined the proposition is a murderously compelling storm of whiplashing inducing endeavour and emotion savaging enmity.

New Chaos Order continues to do nothing but impress as the contagious rancor of Death Place and the predatory stalking of Total Hate next torments psyche and imagination, the first especially riveting and both leaving passions and hunger further aflame. The same can be said of the totally hypnotic Here And Beyond, which from an ok start evolves into a ferocious creative and rabid enticement, and the similarly malicious feud that is Injection. Admittedly the last of those songs is another where it fails to ignite the same ardour as others but casts a net of imagination and technically skilled incitement that you cannot avoid being impressed by.

Scums and In Hell We Trust unleash their creative savagery as the album comes towards its end with fine and hateful effect whilst bonus track Retch provides one final malignant pestilence for ears and emotions to be bruised intensively by. It concludes an impressive and thoroughly enjoyable release. Yes it is not breaking new boundaries and suffers that occasional lack of surface definition but it more than makes up for it with contagious enterprise and irritable persistence.

New Chaos Order is available via Great Dane Records now!

http://www.burning-flesh.com/

9/10

RingMaster 06/06/2014

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Fleshdoll – Feeding The Pigs

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If you like your death metal voraciously brutal and old school bred but with the balls to twist that template to its own devious ends, oh also with a tongue firmly in someone’s cheek at times, then Feeding The Pigs from French metallers Fleshdoll is one recommendation to definitely check up on. The third album from the Toulouse quintet is not a proposition sculpting something new or scarcely trodden before but for uncompromising yet mischievously adventurous extreme hostility, it is a thoroughly contagious and satisfyingly exhausting protagonist.

Formed in 2001, it was the band’s debut album [w.o.a.r.g] five years later which really awoke the French underground metal scene to the arising presence and force of Fleshdoll. Released via French label Thundering Records/Manitou Music, the album was well- received and lauded as the band spent their energies playing show after show on the way sharing stages with the likes of Svart Crown, END, Blockheads, and Zubrowska. In 2006 Fleshdoll became the first death metal band to play in Casablanca, bringing their raw spice to the Moroccan scene treading in the line set already by Kreator and Moonspell. The following year second album Animal Factory is uncaged and again the band is garnered in acclaim and attention as they take it on the road, playing with bands such as Malevolent Creation and Loudblast. A line-up change stepped up next before Fleshdoll stepped into the studio with Gorod drummer Samuel Santiago to record Feeding The Pigs. Its triumph has thrust the band into another soaking of eager plaudits and focus, a new spotlight enhanced already this year as they went on tour across France with Loudblast and Benighted, Europe with Resurrection and Cremation, and before that Japan with Vomitory, Beyond Creation, and Defeated Sanity.

The album launches at the listener with its title track, an instantly vicious and ridiculously compelling maelstrom of annihilatory rhythms, Fleshdoll coverguitar violations, and vocal predation. Into that delicious hellish mix sharp and short acid spewing grooves infest the psyche to further spawn eager rapture. It is an immediate enslavement as the rhythms settle into a controlled prowl whilst still making the most intensive demands and threats alongside a devilish swagger which drives the vocals and guitar enterprise. It is an extraordinary track, one as suggested in regard to the album, not necessarily breaking boundaries but certainly caging the essence of the genre in a virulently infectious and explosively incendiary design.

The opener is such a stunning song that certainly for a while the album struggles to match up to its strengths and toxicity though right away both Collateral Murder and A Feast For The Rats give very worthy shots. The first of the two virtually stalks down senses and imagination, its bestial provocation sizing up and crawling all over the ears and emotions whilst rhythms juggle skilfully with their bait whilst the guitars in league with the bass swarm over the listener in horde like fashion but with enough sonic endeavour and creative invention to cast a constantly intriguing premise. Its successor sits back on the tail of urgency initially before twisting its gait and body through persistently changing and unpredictable turns of direction and pace. It also is loaded with impressive craft from guitars and brutality from Santiago but like its predecessor lacks the explosive spark of the first song as well as the vaunt and open smile. Nevertheless the pair healthily feed an already greedy want from the album bred by the title track as too does the following song, The Wolf.

The album’s fourth song lives up to whatever the imagination can conjure for the song name, its vocal roars and the unrelenting jaws of the riffs worrying and tearing at the senses whilst the heavy paws of the bass and crippling swipes of the drums only compound the mouthwatering attack. Spiteful grooves latch onto the charge of the song soon after before its body switches between prowls and all out assaults again and again ensuring expectations have nothing to latch on to and full attention is taken on a feisty captivating ride. The track gets closer to bridging the gap between the starting pinnacle and the rest of the album especially with its fiery hues of the guitar and solos.

Dead Monochrome is a demonic pestilential fury which sears and consumes from its first malevolent breath, a dark venomous scourge complete with deceitful melodic tempting and addiction sculpting grooves which offer respite knowing the rest of the ruinous intent of the protagonist will suffocate any hope. From this point in many ways the album goes through a slight evolution starting with the sinister breathing instrumental The Hollow Men. It is not a big twist in the premise of the release more a stronger investigation of the melodic and adventurous hints shown in A Feast For The Rats but it does bring a slight movement from animalistic intensity to inventive exploration. The Shadow Of A Man right away certainly shows no signs of diminishing its carnivorous appetite, riffs and rhythms uniting for a tunnel of grievous chastisement, but that is subsequently joined by a flood of melodically seeded flumes. As its mass continues to fill ears, the song brings in a rhythmic enticement which in turn moves into an oppressive swamp within which acid running veins expel sonic tempting.

The pair of Ecstatic Random Carnage and King Of Patusan more dramatically bring something distinctly new to the tortuous fun, the first wrapping its savage and imposing weight around the senses before unveiling a weave of furnace bred melodies and psychotic patterns around the gutturally spawned vocals. Imagination is lit right away but given a greater thrill as the song sweeps into a heavyweight passage of invention which is jazzy in its colour and funky in its energy before returning to a keen ravaging of ears and beyond. The second is technical/progressive flavoured metal imagination within a severe and tempestuous domain and again as the previous song easily seduces thoughts, both songs stepping forward to not equal but definitely rival the first peak in the album.

Completed by the excellent North Sentinel Island, an absorbing encounter which can be onerous at one moment and within a single lung’s expulsion seduce with entrancing ambience and beauty, Feeding The Pigs is a thoroughly satisfying and enjoyable intrusion. Certainly Fleshdoll can be compared in varying degrees to the likes of Cannibal Corpse, Napalm Death, Carcass, Bolt Thrower, and Kreator as a reason to check out their album but it shows that the French band is working on forging their own unique path and it is coming along very nicely.

Feeding The Pigs is available via Great Dane Records now!

http://www.fleshdollband.com

8.5/10

RingMaster 23/05/2014

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