How to describe the debut EP from UK outfit SuperBlood WolfMoon? An infernal kaleidoscope of temptation or a toxic trespass of intimation or indeed an eight-legged groove machine intent on undiluted corruption? All apply to a release which consumed and devoured as well as seduced our senses and attention. Eternal Disco Damnation is like a sonic equivalent of the fantastic and nightmarish narratives within a triptych altarpieces of Hieronymus Bosch; a ravening examination which simply became more compelling by the confrontation.
Hailing from Birmingham and containing former members of another of the city’s previous mighty trespasses in Bishop, SuperBlood WolfMoon create a sound as schizophrenic as it is physically feral and imaginatively beguiling. Certainly their groove metal woven incitement will be an engagement and tempest too ruinous for some but for those with an appetite for a fusion of Meshuggah at their most rabid, Faith No More in their most primal state, and a savagely irritable Unsane though that still skates the surface of the SuperBlood WolfMoon cyclone, the band’s first EP will be nothing less than fascination.
Eternal Disco Damnation opens up with Hexed Houses and instantly descends on the senses like a collapsing towering wall; barbarous rhythms and sonic pestilence a merciless onslaught yet sharing an immediately enticing catchiness which soon springs infectiously wiry grooves around the breaking malignancy of Jon Baker ‘s throat shredding tones. The track continues to twist and turn, its pernicious shifts and unpredictable moves fuelled by adventure and enterprise whether they are brought with brutality or calm temptation. Throughout the track the riffs and grooves of Steve Styles examine and entice whilst the bass growls cast by Slam and the unconstrained swings of Pete Shortman’s beats are as mercurial as they are violently tenacious. It all makes for a song which surprises as it assaults, never going where expectations assume and never leaving the imagination barren.
You & He Were Buddies follows and similarly just collapses on ears with its first breath, swallowing up the senses whilst inhaling greater schizophrenic fumes by the note, rhythm, and release of vocal chagrin. It too comes with a rich character in captivation and contagion if both as fearsome as they are tempting, a fusion as prevalent within Where the Dead Went straight after. Its initial foray upon the listener is a staggered venomous lure but as vicious as anything before it and only more compelling and lethal by every subsequent enthrallingly psychotic second going to make up the EP’s most irresistible moment.
The EP concludes with Cape, a song looming in like a portentous sea mist before spreading its noxious sonic climate with melodic and toxic craft. Compared to its predecessors, the track is a calmer invasion and incitement but equally the most menacing and unnerving interrupted by moments of grooved mania the body just had to respond to.
As beguiling as it is hellacious, the track provided an absorbing end to an engrossing and increasingly striking release. Eternal Disco Damnation is as much drenched in potential as it is invention and imagination. It will frighten some and seduce many but mainly only intrigue all as a new Super Blood Wolf Moon rises.
Eternal Disco Damnation is out now available through iTunes and Spotify.
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Pete RingMaster 13/06/2019
Copyright RingMaster: MyFreeCopyright
It is quickly eclipsed though by the following Wake Up which from its first breath is seducing and ravaging the senses; djent and death nurtured enterprise colluding with sonic and melodic taunts as vocals again bring a great fusion of attacks to the feral trespass. No prisoners are taken in word and sound with every syllable and note a virulent incitement before Damage Everything jabs and swings at the listener with its own individually contagiousness enmity. It too outshone the song before for personal appetites, an Anti-Clone-esque essence adding to its voracious character and grippingly unpredictable tempest.
The EP opens with its title track, Coup de Grâce instantly teasing with a raw sonic lure before it becomes refined into a groove wound temptation within a suggestive electronically woven climate. Even as Cleave’s throat raw incursions emerge and the guitar brings greater threat to its wiring, that initial engaging temptation remains a potent presence. Increasingly predatory with every emerging twist, ravening groove, and rhythmic intrusion, every subsequent trespass echoed in vocal causticity, the track simply gripped and captivated.
The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.
Drive follows and it too simply seizes ears from its first wiry throes before opening up its kaleidoscopic landscape, one tempestuous and as unsettled as it is creatively magnetic but a maelstrom of enterprise fluidly consuming and exciting ears. Classic hues join modern and progressive essences as the song blossoms by the twist and turn, Pickin’s vocals a strong and emotionally disturbed match for the cauldron of sounds around him. Both the opening pair of tracks has an inherent catchiness to them which is just as instinctive within next up Call Of The Judderman. Initially there is a common wiring between the third song and its predecessor, a core asylum of sonic endeavour but it soon unveils its own unique character and presence across three minutes of compelling confrontation.
It is a start which had attention and thought deeply enthralled, the body soon as tightly engaged as Switchblade Romance followed. With its initial wiry groove enough alone to entice further eager scrutiny, the guitars of Aaron Foy and Philip Smith entangled and enthralled with ease, the senses lashing swings of drummer Rob Hadley pining down an already keen appetite as the track rises to its striking feet. Like a blend of Fear Factory and Fuckshovel, the song quickly burrowed into the psyche, providing a lingering creative toxicity ensuring many swift returns even in the face of the inescapable lures of its successor Slaves To Causality. Less grievous in its breath but just as virulent in its grooving, the third track soon placed a firm hold on attentiveness, the tantalising voice and touch of Daniel Carter’s brooding but infectious bass to the fore. Again LC enticed as inescapably as the resourceful sounds around him, the track maybe not as unique as the previous pair but equally as magnetic.
It is a stirring rousing start easily backed by the sonic tapestry that is Akardos. Classic metal lined progressive wiring initiates the temptation, a great slim but rich prowling gait emerging before those early hues inflame the melodic enterprise of Schramm and lead guitarist Aaron Vogelsberg. Darker, heavier shadows soon infest the contagion, the esurient beats of Sam Baw uniting with the magnetic pulsation and lure of Jules RoCkwell’s bass. New threads of sound and styles continue to be keenly woven into the magnetic web before Dark Valley takes over the enslaving of ears and appetite. There is a bedlamic edge to Schramm’s vocals which quickly captured the imagination, one which only escalates across the song as musically too it nurtures an anarchic pandemonium within its skilfully bred infestation; the result which is maybe something akin to Dog Fashion Disco and Mudvayne meets The New Jacobin Club but is truly unique to Sober Truth.