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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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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I’ll Eat Your Face: Hot Brains Terror

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Just the title Hot Brains Terror alone had anticipation firing on all cylinders as the latest album from Irish metallers I’ll Eat Your Face lay waiting to be investigated. It ignited hopes of a sonic creature feature type release, an album casting horror soaked manipulative fingers upon the psyche and it did not disappoint though it exceeding all wishes with its sensational  encounter. The album from the Cork duo is a delicious creative incursion upon the senses which fires up a furnace of passion towards its startling sounds.

Released on Grindscene Records, Hot Brains Terror is the second album from the band and an insatiable corrosive triumph of grindcore or as the band self declare “supergrind”. It employs extra noise, psyche additives, and more to bring a unique and explosive collection of tracks, each stirring up hunger and unbridled enthusiasm for more and more.  Consisting of guitarist The BOY and drummer Barrytron, the release is made up of nine rabid raptorial instrumentals gripping and twisting thoughts and senses out of shape whilst thrilling them with glorious corruptive sonic imagination. Formed in 2006, I’ll Eat Your Face has earned strong acclaim through numerous split, EPs and releases reaching a pinnacle with previous album Irritant. The new album is another step up in quality and sound which you can only imagine the attention and acclaim around it imitating.

The first thrill is opener Weasel Tank Slime, the track emerging from a swamp ambience to unleash badgering rhythms and psychotic sonic teases from the guitars. It is a schizophrenic joy which in its slightly longer than a minute presence is too short such the pleasure given, though the band takes no time in bringing an equal contagion to the ear with Acid Worm Monsoon. This track is a caustic dance with the senses driven by ravenous snarling riffs within scorching sonic fires and seeping smouldering melodic glaze, and stunning

As the likes of the insidiously shadowed Brainwolf: Revenge of the Priest which just demands ardour with its irresistible playful groove within the corruptive dark of the song, Drowning Dogs in a Swamp with a presence and energy as unpredictable and intimidating as the sounds it uses to subjugate the heart, and the blackened  Enslaved by the Prawnmaster grip with inventive and boundary stretching enterprise, the album elevates itself to what one can only declare as classic status. It would have taken a car crash of a second half to knock the release from this early pedestal and of course that was never going to happen.

Reverse Eagle Embeastment is a perpetual swash of acidic light and magnetic brilliance from both members of the band, the rhythms a crusading adventure within the blustery sonic squalls of the guitar, and a glorious union. The majority of the pieces are short which ensures tracks never come near to over staying their welcome though arguably they also depart too soon. It is certainly not a negative though just evidence of how greedy and devoted to the immense creativity and unpredictability to each song one becomes.

The album is completed by the excellent track The Eels of Love Lake, the even more outstanding Castle of Vomiting Owls, and the titan of a closer Forever Sealed in the Electric Brains’ Melting Slug-Ray. Again each song shows the impressive diversity across the album leaving one breathless and basking in their challenging and enthralling imagination. The first of the final trio is an incessant hypnotic layering of serpentine textures alongside niggling sonic rubs which just leaves one transfixed whilst the second gnaws away at the senses, tearing their surface asunder though not before luring one in with seductive melodies and soothing caresses. Now deeply tucking into its victim the track further lashes the remnants with spiteful groove laces for a totally bewitching experience.

      Forever Sealed in the Electric Brains’ Melting Slug-Ray closes the album with a final disturbing nightmare complete with bedlam screams and primal carnage masquerading as riffs. It is a mighty end to an equally immense album. Certainly a release for fans of bands like Pig Destroyer, Cephalic Carnage, and Devilman, Hot Brains Terror stands as the best instrumental album of the year alongside 7th Direction from Stinking Lizaveta, and to the fore of all releases.

http://www.ill-eat-your-face.com/

RingMaster 11/12/2012

Copyright RingMaster: MyFreeCopyright

Flayed Disciple: Death Hammer

      Flayed Disciple Album cover

    Death Hammer is the debut album from UK extreme metallers Flayed Disciple, a release which might not venture into new pastures with the impressive thrash fuelled death metal it and the band unleash upon the ear, but one which leaves demands and expectations not only fully satisfied but basking in accomplished invigorating splendour.  Released via Grindscene Records, the album is a rabid storm of debilitating rhythms, carnivorous riffs, and devouring intensity which endorses why the band is garnering strong acclaim.

Formed in 209, the Taunton quintet of vocalist Tim Whyte, guitarists Thurston Howe and Jon Whitfield (lead and rhythms respectively), bassist Paul Williams, and drummer Phil Tolfree, has earned great respect through their earlier release the Drawn Viscera EP of 2009 and live performances which have seen them play prestigious festivals such as The Neurotic Deathfest and Bloodstock, as well as numerous shows around the UK alongside bands like Cerebral Bore and Aeon. The tail of last year saw the band sign with Grindscene Records leading to the recording of their first album with producer Chris Fielding this past February.

Stalking the same extreme realms as the likes of Cannibal Corpse, Immolation, Deicide, and Exodus, the five piece rampage with constant brutality and skill from the first note of the album to its very last. Their fusion of thrash and death metal leaves a blissful carcass in its wake, a breathless collection of senses which whilst not treated to majorly new invention is lost to a towering and magnificent tempest of aggression and creative intensity. It is high grade destructive metal, carnal rock n roll which constantly and deeply rewards whilst simultaneously sapping the strength from its recipients.

The album begins its unleashing of spiteful corrosive energies with Bring Down The Hammer, an ear chewing stomp of ravenous riffs, crippling rhythms, and sound bites submerged within the brawling weight of energy. It is an initial confrontation softening the senses for the tsunami of viciousness to come starting with The Westboro Massacre. The song plunders the body with the bone splintering violence of drummer Tolfree lashing out from the midst of the squalling sonic display of the guitars as well as their ravishing riffs. The guttural growls of Whyte are bestial in the extreme but offer clarity to grasp and be impacted by the lyrical strikes as forcibly as the crushing sounds. It is an intensive start which just inspires the need to dive into the heart of the album.

Interceptor and Feast In The Forest Of Impaled Bodies conjure up the blackened sonic devil next, both carrying veins of sadistic brooding malevolence which erodes the senses as the thrash urgency and persistence batters and saps the flesh. They complete their bruising with aggressive layers and unmistakable craft of the band deliberately placed to work on the already sore and merciless wounds caused by the release. It is a masterful display commanding only respect and praise which excels throughout the whole of the album.

    Exodus is another terrific violation drawing only acclaim and just one of the continuous highlights offered, though all fall to the towering might of The Shrine Of Dahmer. The track is a colossus amongst giants and one which is merciless in its destructive intent and venomous breath. Completely infectious without losing its intimidation, the song is a riot of imaginative butchery and compelling invention.

The remaining quartet of songs are all equal to the previous triumphs, Bleaching In The Sun and Torsofucked rasping incursions of nastiness especially the latter of the pair, and the closing Ejaculate While Killing and Pig sheer maliciousness, the first through inspired sonic mastery of the guitars and the last just because it is pure evil in all aspects.

Death Hammer is an excellent album which all metal fans will take to their shadowed bosoms once entering its grievous annihilation. Flayed Disciple maybe have yet to find a unique voice to their unadulterated murderous creativity but the album show it hardly holds them back from being a notable entrant in extreme metal.

http://www.flayeddisciple.com

RingMaster 11/12/2012

Copyright RingMaster: MyFreeCopyright

Fuck Hammer: Hammered To Fuck

As subtle as a house brick between the eyes and at times just as painful, Fuck Hammer is a quartet from Northern Ireland who twist their brand of death metal into a grind, crust, and sludge veined corruption. It takes no prisoners nor wants to make friends, but just consumes and blasts every atom, with venom and festering intensity.

Hammered To Fuck is the first EP from Fuckhammer and was originally self released as a limited quantity CDR. The release found a great response and reviews within the local scene and caught the attention of the young Northern Ireland death metal label, Grindscene Records who has now given it a professional re-release. Musically it is a pit of noise with flavours from the likes of Crowbar, Eyehategod, Iron Monkey, and Carcass. The production is not the best it could have been but offers a rawness which adds to the violating tempest which assaults from every angle whilst the sound, as well as the vocals, brings an abrasive consumption with no respite.

The opening Born Of The Ass immediately goes to work on the senses with a delicious greedy groove which winds and grinds its way deeper and deeper.  As the bile spewing serpentine vocals come in the riffs flare up before returning to that persistent destructive groove. The song in many ways is repetitive but it works great and to be honest when the track does venture slightly away from its sonic shaft one wants that irresistible groove back to rub the wounds it caused even more. The track, like the whole release, does not have any designs to restyle or invent its core sounds but just unleashes the intent to wring every essence from them for the best results.

The following Drone mixes things up with flurries of tempos, beats, and crunching riffs. The twists and turns all brought with the fullest intensity make for two minutes which do not reflect the title at all but still offer a thick sludge oppression to admire. The guitars and drums crush and dispose of any obstacles within the senses with undeniable strength and craft so for even in its brief assault the song is a thunderous enjoyable confrontation.

The remaining Hillbillies and Abortion Addict vary things again, the first with a stoner swagger to its death spawn vocals and conspiracy of insatiable grooves and thrash tinted riffage, whilst the second is a grindcore/death metal avalanche of towering riffs and abusive rhythms. Their hunger is different in intensity too with Hillbillies chewing on the senses with a southern greed and incestuous appetite whilst its successor gnaws and consumes with a rabid vehemence, the release again creating a varied violation to be endured and ultimately enjoyed.

Fuck Hammer is a band still in its informative years musically one feels and as such Hammered To Fuck is not drenched in any really distinct originality, its sounds heard elsewhere though dished up in a different and energized way. Vocally too some diversity would have been a good additive. The delivery and spiteful aggression works well for the most part but do diminish and distract from the effect of some aspects of sound like the tighter grooved parts without a complimentary variation.

For all that though the EP is an enjoyable release giving plenty of promise for the band and an anticipation of what will emerge when they are given access to a proper studio and production set up.

www.myspace.com/fuckkhammer

RingMaster 30/08/2012

Copyright RingMaster: MyFreeCopyright

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