Pathologic Noise – Gore Aberration

_MG_1153_RingMaster Review

It has been twelve years since the release of their debut album, a period where Brazilian death metallers Pathologic Noise, certainly outside of their homeland’s underground scene, has been a big miss for some and, easy to suspect, a secret to a great many more. We can tell you what consumed the band’s creativity since that release but however the band spent the time, musically they have honed and re-energised their striking style of splatter death metal to invigorating effect. Evidence comes with second full- length Gore Aberration, a carnivorous violation of a savaging as thick in addictiveness as it is brutality.

Bred in Belo Horizonte, Pathologic Noise emerged in 1992 and took little time in making their mark upon the local and in turn Brazilian underground scene. First impressions and successes were reinforced by a trio of demos between 1995 and 2001, with debut album Sodomy and Delight on Flesh awakening broader attention and appetites with its release in 2003. As mentioned earlier, the time for the band between that well-received release and Gore Aberration is a mystery but fair to say it was well spent as Pathologic Noise return more creatively vicious, sonically bloodied, and intrusively potent. Major surprises are maybe a lesser factor within their latest album, yet there is stirring freshness oozing from every raw pore of its virulent contagion, which alone helps make Gore Aberration one of the most enjoyable genre releases this year.

capa_pathologic_online_RingMaster Review     The release opens with Never Ending Blood’n Hate, and an immediate entanglement of spicy grooves aligned to barbarous rhythms. Driven by a ravenous intensity and intent, the track is an uncompromising proposition, especially once the insidious vocal presence, led by bassist Tchescko Suppurator, lays its great toxic tones on the reins of the punishing incitement. With searing enterprise further spun from the guitars of César Pessoa and Claydson Melo, the opener sets the scene and tone of the album whilst igniting the imagination and a quickly greedy appetite.

It is a thrilling start matched by the even heavier footed and predatory Sexual Murder. Rhythmically though drummer L. Muratchas is a more considered protagonist, only unleashing his full venom once the guitars spew tendrils of heavy metal resourcefulness and sonic drama. It is the full-on chewing of the senses through riffs where the song excels especially but fair to say that every second is a thickly enticing lure, emulated and intensified by Pathologic Metal Vision. Again riffs and very often grooves too, descend and nag the senses and psyche like a drill bit on flesh, the merciless torrent of rhythmic barbarity working like a psychotic jackhammer simultaneously. It is a merger reaping havoc across the whole of Gore Aberration and especially torrential and pleasing on the third track.

Master of Suffering flings an infection of rock ‘n’ roll at ears straight way within its instant tempest of sound and attitude, that virulence twisted into a sonic stalking and vocal causticity soon after. The track persistently evolves as an array of imaginative ideas throw temptation into the mix, leading to a great bedlamic but skilfully ordered stomp that employs all ingredients again and again to rousing success.

That psychotic tapestry of sound is never far from the surface of any song within Gore Aberration, always bubbling near if not on the surface as in Bloody Deliriums, a carnal furor firing up an incendiary violation littered with rabid grooves and crippling rhythms, Bass and drums maybe at their most primal and savage here but equally in the following Lights on the Dark Sky. The track is physical and emotional rabidity, a corrosive onslaught but equally a scavenger feeding on bruised senses and through grooves which prey on the imagination as tempestuous rhythms ebb and flow in uncompromising hostility whilst a vocal trespass roams the violent maze of sound with demonic intent.

Pathologic Noise never lower their animus of sound and emotion with the album closing just as sadistic and punishingly insatiable as it had been up to the point of closing pair, Calling with the Deads and War Lust (Queen of Carnal Pleasures), and as cruelly catchy. The first of the final pair roams the senses with a piercing sonic resourcefulness and a wanton rhythmic and riff loaded premise as wild as it is nastily concentrated whilst its successor simply smothers the listener in suffocating intensity amidst a brutal scourge of sound, both tracks thrilling ears and inciting thick pleasure.

Spewing a sound easy to liken to bands such as Cannibal Corpse, Deicide, and Morbid Angel, as many have, Pathologic Noise might not be re-inventing the wheel with Gore Aberration but certainly shows all how great and hungry death metal can really get the body and passions going.

Gore Aberration is released November 2nd via Greyhaze Records and available at https://pathologicnoise.bandcamp.com or http://store.greyhazerecords.com/index.php?route=product/product&product_id=376

https://www.facebook.com/pathologicnoise/

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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

Scourge – Hate Metal

Scourge 2

Driving imagination and emotions into the darkest pestilential depths of hell and extreme metal, Brazilian death metallers Scourge unleash their new merciless and ravenous incitement in the venomous shape of Hate Metal. Eight tracks of unbridled filth clad hostility and invention, the release is an invigorating savaging seeded in the first insidious breath of the Brazilian death metal scene. It is vicious and sadistic, an antidote to the “False Metal that still abounds in extreme music worldwide”, and rigorously compelling. Band and album has no interest in creeping into an adventure outside of straight-up death metal but at the same time still creates an imaginative skilled exploit within its ‘confines’ which is venomously varied and uncontrollably captivating, and making a new statement for a well-trodden but always magnetic scene.

Formed in 2007 and hailing from Uberlandia, in the state of Minas Gerais, itself a breeding place of great extreme metal and bands, Scourge made their first strong declaration with debut album …On the Sin, Death, Lust, and Hate… in 2010, a release produced by Gerald Incubus of Sarcofago. The band now uncages its second assault on the senses and modern metal with Hate Metal, an onslaught of spiteful sound and ideation again attacking humankind’s deepest perversions and more.

Produced by the band and Rodrigo Nepomuceno, Hate Metal opens up with a storm fuelled intro, howling winds and funereal breath a Scourge Hate Metal Coverclimatic and messy portentous death knell of the strains of metal they loathe and our souls. It is an intriguing maelstrom of sound and drama which passes by for the instantly carnivorous presence and voice of Sentenced to Die to consume ears and emotions. Within seconds the guitars of Pretho Souto and Mauricio Conçalves have captured the imagination either with predatory riffing or sonic malevolence whilst the rhythmic antagonism of drummer William Santos and bassist Juarez Távora assault and stalk the senses respectively. Driven intensely by the raw guttural growls of Távora, the track permeates and envelops with unbridled malice and invention. It twists in gait and energy throughout its enthralling body, predictability as scarce as mercy in the riveting premise.

It is an impressive start swiftly matched by The Bread that God Crushed, its opening caress of acidic guitar amidst a reserved yet concussive scatter of percussion the perfect coaxing as thoughts and appetite increase their willingness to immerse in the dark encounter. Featuring guest vocals from Wagner Antichrist (ex-Sarcofago and Sepultura), the song from a tenderly start erupts in a torrential malevolence of sadistic beats and scarring riffs. It is a hellacious tempest racked with magnetic sparks and short grooves of melodic causticity which entwine tightly around the ears. It is a bewitching proposition even though its fury is held in rein for the main for a more toxic seduction than found on tracks like the following Angels of Wrath. The third incitement is glorious, from its first breath a mouthwatering provocation of iron tempered rhythms and skin scorching sonics. The richest ferocity is unleashed on the track; its destructive guitar sculpted flumes a treacherous ride for psyche and emotions which the threatening gut bred scowls of Távora openly revel in. The track proceeds to expel grooves and hooks which are as contagious as they are inhospitable whilst both Santos and the strings of the vocalist obliterate air and resistance with their unchecked rancor. It is a mouthwatering triumph, every twist and new detour within its ruinous presence surprising and thrilling whilst the individual craft of each band member adds additional flaming flourishes to the success.

Both Orgy in Paradise and Sacrifice of the Dead keep the new plateau for the album at its lofty height, though neither can quite equal the brilliance of their predecessor. The first of the two is an invidious prowl of oppressive riffs and demanding intensity speared by again inescapable swipes from Santos whilst both Souto and Conçalves vein the tempestuous aural malignancy with infection drenched evocative designs. It is another major highlight of the release, admittedly one amongst many, which is straight away outshone by its successor. As soon as niggling waspish grooves worry the senses within a titan like parade of rhythms, there is a flush of excitement firing up an already healthy hunger for the album. That irresistible temptation never releases its hold as the track builds and hits the senses like a grudge bred avalanche, the vocals a demonic instigator from the heart of the cruelty led predation. It is a beast of a track which finds time to add a web of melodic toxins which only accentuate its vicious beauty and raging disgust.

The Ancient Ritual of Death, with a heavily textured throaty bassline which is just delicious to the ear, steals attention next; it’s opening another which simply absorbs and enslaves body and mind from the first second. Into its full vat of aural vindictiveness, the track slips slightly in its attempt to match previous tracks but with floods of riling riffs and bone splintering rhythms charging persistently across the senses and bass and vocals combined opening up the cavernous depths of vitriol and animosity, the song is never less than gripping and impressively rewarding.

My Hate, My Dreams, My Revenge brings a new side to album and band, its melodic beauty and atmospheric elegance aligned to demon spawned vocal enmity bewitching. The song as the others never settles in one overriding scenery, its peaceful grandeur becoming an exhausting fire of uncompromising tension and smouldering grace before a finale which spews musical and lyrical hate.

Closing with the devastating title track, an anthemic call to brutal arms, Hate Metal is a commanding and thrilling antagonist. Certainly a must for all with a taste for the likes of Sarcofago, Bathory, and Blasphemy, the release declares Scourge as a new important protagonist of undiluted death metal.

Hate Metal is released in conjunction with USA’s Greyhaze Records and Brazil’s Cogumelo Records and available via http://greyhazerecords.bandcamp.com/album/hate-metal

https://www.facebook.com/scourgehate

8.5/10

RingMaster 28/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com