Czar – Life Is No Way To Treat An Animal

cover-front_RingMasterReview

Finding something which stands out from the crowd let alone presents something truly unique gets harder and harder but Czar and their new album Life Is No Way To Treat An Animal easily tick both boxes. Creating a compelling experimental, bordering on psychotic, brew of sound bred in the raw essences of anything from progressive metal, hardcore, and grind to mathcore, post punk and more, all woven with avant-garde tendencies, the Tacoma, Washington based Czar infest ears and infect the psyche with relish. Certainly it is a challenge not all will take to, yet every intrusive assault, off-kilter trespass found within their album has an instinctive infectiousness which rewards as it devours. Like a mix of Dillinger Escape Plan, Mr. Bungle, and Psyopus, yet as suggested creating its own individual character, sound and indeed Life Is No Way To Treat An Animal is one of those times when you really feel something special is in the making.

The album makes a subdued entrance with the beginning of Owls, etc; electronic throbs and melodic coaxing a minimalistic but potent lure. Soon the enjoyably strained and captivating tones of vocalist Dr. Landon Jared Wonser join in with lively beats and a brooding bassline alongside. The track is still restrained but smouldering greater volatility in its belly. With the funk of Red Hot Chili Peppers and the progressive lilt of The Fall of Troy laced into its Every Time I Die like swing, the song never does explode and only benefits from that teasing of expectations for a thrilling start to the release.

Too Many Yetis quickly follows; its agitated heart and enterprise a caustic invasion as the guitar of Nicholas J. McManus drizzles sonic psychosis upon the rhythmic battering of drummer David Joseph Dorran Jr. and Peter Joseph Ruff’s throbbing bass meandering. Its brief but potent escapade further whets an already awoken appetite before Arachnochondriac casts its unhinged waltz on the senses, guitars a web of irrational melody and bass a roaming grumble as the keys of Christopher Duenas intensely sizzle. It is a frenzied ear twisting affair as magnetic as those before it with its unstable yet skilfully nurtured trespass.

Antelope Mask steps to the fore next, it’s extremely short hunt the perfect appetiser for Beware the Flies, Orestes and its unleashing of a post punk woven landscape littered with cold stabbing riffs, steely grooves, and vocal predation. The eye of its tempest sees keys sharing a classical beauty as harmonies float behind the corrosive squalls of Wonser, the combination as riveting as it is enjoyably testing as it leads ears into the Latin kissed melodic festivity of Vultures Never Eat In Peace. This is a hot bed of unpredictability and cracked emotional turbulence hugged by the toxic sonic craft of guitar and the perpetual imposing enticement of rhythms; drama soaking every twist, sinister deceit each throat spewed syllable.

With a psychedelic lining, The Worm Enters the Moon prowls the listener next, its theatre of sound and imagination sharing attributes found in UK band Japanese Fighting Fish and indeed Dillinger Escape Plan. The open variety of the flavours making up the band’s sound and individual songs is already clear and only reinforced by Canine, No Eyes Just Teeth, spoken word nestling in raw lo-fi sound and straight after the ferocious punk and metal bedlam of Shark Cancer, a track suffocating and igniting the senses simultaneously. Its mordant assault is then matched by that of The Golden Calf, its breath scathing and touch scalding yet equally captivating as it fluidly shifts from venomous pattern to corrosive irritability; and even when the movement is more of a clunky sidestep it works perfectly.

Through the creative surf hued snare of Mister Reindeer and the melodic calm of Domesticated Wolves, ears and imagination are effortlessly reeled in with the rest of the body disturbed into compliance by the predatory jazz infested mania of the exceptional first and the poetic serenade of the second. That track is an oasis in the certifiable invention and nature of the album, a gripping dementia fuelling the crumbling climate and emotional erosion of You Were a Comatose Lion and in turn the jazzily bipolar Wine Hog, both revealing an array of crazed facets to their attention demanding personalities.

So often a nineteen track release is sharing a filler or four along the way but there is no such moment within Life Is No Way To Treat An Animal, the celestially bent x̌ʷiqʷadiʔ provoking grateful reactions while Blind Mice provides a bewitching espionage of twisted enterprise and haunted frenzy with interruptions of dark repose with their successors in Prawn and after that RxABBITS invasively exploring and stretching the psyche respectively. The later of the songs is especially striking with its incendiary fusion of raw and composed sonic belligerence.

Concluded by the minimalistic lure of Taking Roadkill to the Vet, a track warming up to the task of seducing the listener with sonic malignancy through every second of its low key but haunting  electronically spun three minutes,  Life Is No Way To Treat An Animal is a rare gem as creatively murderous as it is formidably tempting. Czar themselves are a fresh breath which you will not have to go searching for; their music and talent will do the hunting.

Life Is No Way To Treat An Animal is out now @ https://czar.bandcamp.com/album/life-is-no-way-to-treat-an-animal

http://czarband.com/   https://www.facebook.com/czartheband

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Razoreater – Vacuum of Nihil

razoreater_RingMaster Review

According to their bio, UK grindsters Razoreater formed in 2011 with “the hope of writing the most misanthropic, abrasive music they could.” It is fair to say that their aim has certainly been achieved within new EP Vacuum of Nihil. It is a five-track scourge of noise and cynical emotion; an animus of intensity and raw sound violating every pore as it ravages the senses. Belying its corruption though, is a nasty virulence springing from the fusion of hardcore punk, d-beat, grind and metal, an infection which keenly incites involvement as its body viciously abrases.

Hailing from Peterborough, the quintet of vocalist Ben Rollings, guitarists Sam Gollings and Stephen Pickles, bassist Sam Holmes, and drummer Luke Thompson have drawn on inspirations from the likes of Napalm Death, Rotten Sound, Pulling Teeth, Dismember, and Entombed in the creation of their individual pestilence of sound. They create a provocation which has seen Razoreater earn strong support and reputation through their releases and live within the underground scene, one now threatening to break out into wider attention with Vacuum of Nihil.

Art12inch__RingMaster Review   Nailbombed is the first rabid trespass on the senses; a sonic breeze initially building around a vocal sample before an eruption of hellacious intensity and rabidity. Guitars scar the air as vocals match their animosity in raw kind upon ears, their turbulence stalked by predatory rhythms and an underlying abusive swing which just recruits the appetite. It is a ruinous confrontation quickly equalled by the following I, Dreadnought, its debilitating unbridled fury quickly showing itself insatiable in animosity and sonic ferocity. As the first storm though, at its core a rock ‘n’ roll psychosis as infectious as it is venomous is laying riotous enslavement within it all.

Both of the opening pair of tracks goes for the jugular but there is more to the Razoreater predation as shown by Bloodeagled, the cancerous invasion crawling over the listener with primal, sludge thick enmity. It too unlatches the gate to unrestrained full-on assaults but the cold and harsher lumbering moments bring new and flavoursome scarring rewards for those braving the murderous affair.

A rampant sonic and vocal rancor drives Wrath next. Flesh flaying riffs and scathing syllables are the fuel to the scavenging proposal with irresistible grooves the tempting scenery within an evolving soundscape of bad blood and creative ill-will. There is no mercy from or escaping of the song’s blistering tirade or that of its successor and closing violation Filth Scheming, Shrill Screaming. Another venomously jaundiced onslaught, the track is a minute and a half of punk pain and gripping danger which eventually content that its barbarous incitement is done unleashes another minute or two of senses smothering black drone hued noise.

It goes without saying that Vacuum of Nihil is going to be a sonic malefaction too far for many but also a delicious infringement of the psyche for others. There is only one way to find out of course, to allow Razoreater to trespass.

Vacuum of Nihil is available from January 13th via WOOAAAGH and Skin and Bones Records on one-sided 12″vinyl with a limited edition of 500 yellow/black marbled copies with etched logo B-side, 12″ insert, and download code and at https://razoreater.bandcamp.com/album/vacuum-of-nihil

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Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

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Drones For Queens – Practically Weapons

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It may be only four tracks creating barely ten minutes of hellacious fury but listening to the Practically Weapons EP from US punks Drones For Queens, is a hostility which withers the senses and scars the psyche. It is by no means an easy listen, to be honest a barbarous one at times, but for braving its tortuous climate the rewards are thrilling. Creating a venomous brawl of thrash, hardcore, and grind with extra searing spices, the Philadelphia-based band goes for the jugular with a sonic bloodlust and enterprise which is as inventive as it is fearsome. Breaking through its blistering surface though you find a warped enterprise which tantalises, and though to embrace it may prove difficult for some for others the EP is sure to ignite a greedy appetite.

Drones For Queens features ex-members of Woe, Woods of Ypres, and current members of The Green Evening Requiem, Population Zero, and Dirt Worshipper, and has already lured in attention and acclaim through firstly their cassette EP Health in 2012. Even more potent acclaim came with their split 7” release with Occult 45 which came out at the end of the following year, but recorded with Steve Roche (Stinking Lizaveta, Rat Healer, Nightfall, Witch Hunt, Serpent Throne), it is easy to expect Practically Weapons to push the band into wider recognition such the vicious, uncompromising, little treat of an assault that it is.

State Your Terms is the first to corrupt ears, its initial sonic scrub soon battered by a flurry of voracious stick swinging and d-beat hostility from drummer Evan Madden. It is a tsunami of spite and intensity equally driven by the malicious vocal squalls of guitarist Shane Madden. There is no hiding place as the song consumes every inch of the by now ringing ears but beneath the raging tempest, the bass of Bob Stokes is crafting dark virulent temptation and the guitar a spiky but addictive web of sharp hooks and nagging grooving. It is compelling stuff, a clash of brute force and anger against a creative seduction which is almost flirtatious in its understated but open adventure.

It is a fusion continuing across all the remaining songs in their very individual characters, the following EP title track unleashing a heavy ravenous texture of sound and intent built on groove metal agitation and thrash animosity. Though it does not instantly sparkle in its depths as the first song, the grooves which spear the onslaught are mouth-watering and the rhythmic tenacity and enterprise of Evan exhaustingly gripping, whilst its closing melodic twist just steals the imagination.

From its opening second A Blinding Future has a niggling groove which works incessantly away at ears and psyche from within the rhythmic turbulence buffeting the body. The severity of the track’s examination, indeed the EP’s, is fierce and unrelenting but again the ingeniously intrusive invention of the guitars beneath the turmoil is bewitching and backed with similar endeavour by Stokes’ bass which manages to abuse and seduce simultaneously.

The closing Duress emerges as the best track on the EP, its twists and inventive spite standing toe to toe with the savage storm at the surface of the contagious voracity. The song is a maelstrom of grooves, hooks, and flailing rhythms interspersed with acidic melodic twists and the grouchiest bassline you are likely to meet this year, and with a growl to match. It takes tops honours on the release and reinforces the impressive weight and creative exploits of the EP.

Practically Weapons pushes on an already impressive emergence by Drones For Queens and suggests that fans of everything from hardcore and crust punk to grindcore and extreme thrash/metal might potentially have a new proposition to lust over. They certainly have us hooked.

Practically Weapons is available on 7” white vinyl limited to 300 copies via Riff Lifter Media @ http://rifflifter.bigcartel.com/product/drones-for-queens-practically-weapons-7-pre-order

https://www.facebook.com/dronesforqueens

RingMaster 11/03/2015

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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Bloodscribe – Prologue To The Apocalypse

band-bloodscribe

Formed in 2004, US death metallers Bloodscribe have taken their time getting around to unleashing an album, presumably due to circumstances rather than intent, but a decade after emerging they uncage Prologue To The Apocalypse. It is a ten track ravaging running for less than thirty minutes of senses blistering ferocity. Released through Los Angeles’ Gore House Records, the tempest brings death, grind, and slam essences into one accomplished and solid violation, and though ultimately it strongly impresses without igniting any massive excitement, the album puts Bloodscribe firmly on the radar.

Hailing from Boyle Heights, the quintet draw on inspirations from the likes of Dying Fetus, Through the Eyes of the Dead, Origin, Devourment, and Terror for their sound but as their debut assault shows, their sound also holds plenty of invention to not exactly set them apart from the pack but certainly make Bloodscribe a visible proposition live and on record within the local and broader scene.

The album’s 40 second title track starts Prologue To The Apocalypse off, providing a tempting incitement of ravenous riffs and equally imposing rhythms. It is a good entrance but not around long enough to be or offer much more before Pantheon Of Lies invades ears and personal space. Spicy inviting grooves make the first potent impression amongst another raw flurry of sound. Their presence is subsequently an intermittent offering as the voracious heart and muscular riffs, with similarly intensive beats, take over and prowl agreeably over the senses. With the occasional outburst of warlike hostility, the unsurprising but highly enjoyable track ensures the album leaves a swift good impression.

It is a strong imprint continued through Enslaved By Deceptions and Burning Bridges. The first is a predator, every caustic riff and heavily swung beat a natural threat and each grouchy growl of the bass and gutturally swinish vocal roar, viciously engaging. Again it is hard to declare anything new going on but plenty to get teeth and appetite into for a satisfying experience, matched by its successor. The fourth track is a more volatile confrontation, stalking and going for the jugular with alternating intent whilst ‘creaking’ with its flavoursome hooks and tempting via lumbering grooves.

Demons is a deliberate predacious stroll, with a great thick throated bassline for company and acidic sonic stabs of guitar for flirtation. It has little trouble enlisting full attention, rewarding bloodscribewith a more unpredictable character compared to other onslaughts within the album, though it is soon overshadowed by the excellent Annihilation. If other songs can be called predatory, the song is sheer bestial insidiousness. Riffs and rhythms cage and bully from the off even though they come bound in corrosive yet contagious grooves. As all the tracks there is a swing and underlying infectiousness, but here it is given full rein to seduce; just a shame the song is so short at barely over a minute. The juices start flowing and it dumps them and departs, though the next up Kingdoms Fall is not shy at bringing a catchy inhospitable climate and savage maliciousness to bear on ears, even if it lacks the compelling virulence of its predecessor.

Both the sinister fuelled Shadows and the sonically rabid Castrating Humanity trespass ears and psyche with proficient and pleasing rancor, the first breeding a noir lit atmosphere around its insatiable and captivating brutality. The second of the duo similarly entangles the imagination in black hearted scenery of suspicion and demonic oppression, bass and drums especially picturesque in their rapacious endeavour around the ever composed yet rabid vocals.

Completed by the resonating presence of In Ruins, another lingering assassination of hope and light with additional creative cruelty, Prologue To The Apocalypse is an increasingly enjoyable and impressing proposition. As mentioned it has enough to make Bloodscribe a prospect worth paying continued attention to, even if right now they and album do not manage to quite light a blaze of excitement. It is impossible not to recommend its investigation though.

Prologue To The Apocalypse is available now digitally @ http://bloodscribe.bandcamp.com/album/prologue-to-the-apocalypse and on CD via Gore House Productions @ http://store.gorehouseproductions.com/

https://www.facebook.com/bloodscribe

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

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Keitzer – The Last Defence

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The saying goes that Hell hath no fury like a woman scorned but if the Devil wants to give her a run for her money then he could not no worse than call on German metallers Keitzer. The band has never been slow in unleashing scourges of sonic spite and brutal confrontation but they have unlocked a new vat of hostility with latest album The Last Defence. The bands fifth full-length is as ferocious as it gets; a furnace of vitriol and blast beats which leave ears and senses floundering in their own waste but within the torrential downpour the band seduces with some of the most viciously tempting grooves. The 1999 formed Keizter and album are as pissed as they can be, showing time can only intensify sonic grievances as proven by this juggernaut of contagious mayhem, an assault leaving deep bruises and open satisfaction.

The follow-up to its successful predecessor Descend Into Heresy of 2011, the FDA Rekotz released The Last Defence takes no prisoners as it treats them to some not admittedly ground-breaking but voraciously vindictive and equally rewarding metal. The album’s press release suggests it lies somewhere within the assaults of Misery Index, Marduk, and early Deicide, something you cannot dispute or want to as it definitely gives a potent hint as what Keitzer has in store within the Jörg Uken mixed and mastered hostility. From opener Bellum Indicere, an introductory instrumental, the album boils up and over with the cruellest sounds and intent available to its creators. The first track brings an atmospheric storm to bear on the senses, a controlled but tempestuous climate of sonic and rhythmic incitement which provides a fiery but kind introduction before the savage ravaging of Exist To Destroy. Ears and senses are thrust into a brawling maelstrom of sound and intensity straight away, the guitars of Nicolai Hinse and Michael Dölle squalling with all the respect of a sandstorm as the rhythmic ferocity of drummer Tim Terhechte violates air and body. Driven by the excellently malicious and varied vocal enmity of Christian Silva Chaco the second track is an incessant conflict but also the source of a rich acidic groove.

There is no respite from the furnace of sound and aggressive with This Is The Only Solution, its body of vindictiveness in sound and lyrical bitterness devoid of mercy but virulent with grinding torrents of riffs, debilitating rhythms, KEITZER_cover_WWWand vocal causticity. Unveiling a hardcore seeded rabidity to its breath and an irresistible heavily footed groove from bassist Simon Venig, the track twists and flays around with a dervish like fanaticism, those hook lined grooves bringing even more potency to a lure which is intensified in the next up Forever War. Its opening melodic enticement is soaked in intrigue and mystique, a coaxing hinting at a valiant emprise ahead. What erupts is an avalanche of precise yet insatiably hungry drum provocation and flesh flailing riffery within further scorched grooving. In some ways what emerges is underwhelming from the song’s delicious start but those disappointments are soon smothered by and lost within the barbarous intensity and heart of the track, though it does fail to ignite ears and emotions as fully as its predecessors.

   Marching Forward To Victory is another which seems to lack the spark and irresistible bait of other engagements, but it still offers a wall of jaundiced passion and accomplished violence to keep attention locked in and cowering under its punishment before the outstanding title track triggers another lustful hunger. The carnivorous grumble of the bass is ferociously addictive bait but as with most songs to be honest, it is the swarming of grooves with their waspish tenacity and virulent toxicity which sear the sweet spot. The track continues to destroy and seduce with its shifting landscape of rapacious melodic relentlessness but never loses its core of repetitive and addictive bad blood.

The album continues to impress and uncage its ruinous appeal aligned to sheer pungent loathing, the likes of the bestial Next Offensive with its twist of heavy almost stoner seeded hate bred grooves, the similarly predatory We Are The Serpents Of Doom, and the pestilential Fleshcrawl in varying degrees leaving ears ringing and passions basking. The third of the trio especially teases and exploits the imagination, its corrosive opening moving into primal seduction with salacious grooves of wanton designs within a rhythmic battering which only takes a slight breath in its steely intent to suck air in for the next up Todgeweiht. The track is a minute and a handful of seconds of raw brutality and sadistic rhythmic suasion but still lines its wrath with an admittedly slight but nonetheless persuasive groove.

The album ends on a horde of triumphs starting with Glorious Dead; to some extent the release holding back its best for the closing stretch. The track is a jubilant waltz of decay and pestilence, its swinging gait and grooved revelry a contrast to the rancid attitude of the beats and bass incitement, as well as the song’s subsequent stalking of the senses. It is a riveting and thrilling assassination of emotions which is equalled in quality and intent by Ausgelöscht, the track as malignant as it is urgent as it tears the senses apart for the intimidating but seductive corrosive grooves which follow. It is a masterful annihilation of the psyche left in the shade of the best track on the album Crusade. Its title reflects its sound and purpose, a heroic air and stature wrapping the riffs and ear caging rhythms. This eventually parts though for the inevitable uncontrollable expulsion of inhospitable and frantic enticement though it never loses its touch on the song as it reassert its dramatic, hostility driven majesty time and time again.

The album closes with the tension drenched animosity of …Before Annihilation, though it has to be said that its title is a bit late, the destruction and blood-letting having been and not exactly gone but done its worst by the time of this final exhilarating violation. It is a great end to an exhaustingly exciting release, which probably you can say is not unleashing a new bloodshed or aural corruption but certainly delivering it in a style and inventive ferocity to rigorously enjoy being pulverised by.

The Last Defence is available via FDA Rekotz now on download and CD with Black Vinyl and Ltd Edition red vinyl versions available through 7Degrees Records and @ http://keitzer.bandcamp.com/album/the-last-defence

https://www.facebook.com/keitzer

8.5/10

RingMaster 18/07/2014

Copyright RingMaster: MyFreeCopyright

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Flesh Born – Han EP

FleshBornPromo1

Eight tracks across eleven minutes of raw, senses blistering causticity, the Han EP from US band Flesh Born is a fury to ignite the imagination and test the emotions. It is a raging hostility which merges the voraciousness of crust and grind with the malevolence of black metal for a distinct and unique proposition which offers a challenge of uncompromising antagonism and merciless sonic abrasing. It is not going to be for everyone, especially with its equally strong essence of screamo, but beneath its fiercely grazing surface there is a range of hooks and twisted grooves which easily trap the more adventurous hearted.

Formerly known as Elesh Norn, the Texas quartet’s new release follows their impressive spilt with fellow Texans, the blacked punk duo Cara Neir. Released on Midwest label Skeletal Lightning and with the band’s debut EP All The Pain I Built Up strapped to its B-side as a bonus, Han is primed to thrust the Denton band into a stronger attentive spotlight. As mentioned EP and sound is a raw incitement; from lyrics to vocals, passion to production an unpolished quarrel which demands attention. In some ways its production with its thick coarse touch actually defuses some of the impact of the fire blazing within the tracks but it also accentuates the adversarial presence to leave indecisive but ultimately satisfied thoughts on that aspect of the release.

Han opens with the gentle caress of Unforgivable, well a polite coaxing for a clutch of seconds anyway before riffs and rhythms explode han coverin a frenzied animosity driven by the similarly unbridled ferociousness of Miles DeBruin’s vocals. It is an immediately debilitating onslaught but one veined by highly tempting sonic hooks from the guitar of Parker Lawson. Little jabs and strands of melodic discord tease the senses to give the minute plus suasion of the song an infectious lure within the tumultuous swamp of jaundiced energy conjured by drummer Daniel Mitchell and the throaty bass spite of Donovan Ford. It is a strong and magnetic start instantly swamped by the thick intensive and malicious energy aligned to predatory passion of Destroy the World of Men. A wall of sonic argument to buckle knees, it is punctuated with tenacious heavy swipes from Mitchell which again add that something extra and distinct to set the track apart from its companions and other genre crossing protagonists.

The stringent force of Lament sears ears and senses next with forty seconds of primal antisocial bitterness before the melancholic acrimonious prowl of Gloom infest thoughts and emotions. With a sludge air to its pestilential intent and cavernous resonance, the track is a labour intensive proposition and an intimidating long term engagement which though presenting a longer confrontation than most on the release at over two minutes flies by with its corruptive tsunami of sound and intensity.

The Fever of Feeling launches a thunderous stride of riled rhythms and desperately rapacious riffs under the scorching squalls of DeBruin, its furnace a bestial but addictive bait to devour greedily before being succeeded by the acerbic and senses battering weight of Empty. Less gripping than others but as potent in consuming thoughts with its provocative intent and scarring raw sonic scalding, the track is a satisfying rub soon surpassed by the thirty second crippling assault of The Body System. It is an intriguing almost mesmeric flow of sonic lava veined with distorted melodic invention which just re-ignites the passions.

Final track The Other Side of Despair is a virulent contagion of abrasing riffs and predatory slow rhythms around a delicious flesh burning groove and brawling chords. It is a bewitching acidic maelstrom presented in a calm but no less furiously passionate way than elsewhere. It also steals best song honours with ease and leaves the listener with an even greedier appetite for Flesh Born.

Han is a riveting and thoroughly satisfying encounter showing its creators as a band with the potential and craft to rise to major heights at some point ahead. Right now though, Flesh born has given us a release which takes its toll on the emotions but rewards with a highly enjoyable outrage.

The Han EP is available on 12” vinyl via Skeletal Lightning now @ http://www.skeletallightning.net/products/526535-flesh-born-han-12

https://www.facebook.com/fleshborn

8/10

RingMaster 24/06/2014

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