I Will Tear This World Apart – Self-Titled


    Released at the tail end of 2013, the self-titled debut album from Norwegian metallers I Will Tear This World Apart is one of those provocations which thrills and invigorates from the first encounter but also infects the imagination with seeds which only draw you rapidly back into the antagonistic arms of the storm offered. Consisting of nine songs which rampage and infest the senses like a sonic scourge of metallic breeding, the release is a magnetic merger of styles and angry passion which is unrelenting in its animosity and towering persuasion. The saying goes that ‘you can’t keep a good man down’, but in the face of I Will Tear This World Apart’s ferocity even the Devil might be staggered to his knees under their intensive fury.

     Formed in 2011 and taking its name from the Grown Into Nothing song Wrestling the Lions, I Will Tear This World Apart consists of vocalist Peter Bains who also fronts impressive metallers Killtek and Grown Into Nothing, alongside guitarist Robert Bains also of Grown Into Nothing, drummer Espen Hektoen from death metallers Chton and death thrashers Cleaver, and bassist Sigurd Ekle. Essences of the members other bands do make a loud whisper at times within the presence of IWTTWA but this band has a voice and aggression all of its own which rivals and challenges the strengths of those parallel projects. With a more hardcore causticity adding to the array of metal flavouring from groove to metalcore, thrash to extreme metal, the band brews a sound which is a voracious provocation able to rile and seduce with equal intensity; IWTTWA’s debut album an introduction all metal fans should treat themselves to.

    Released via Trøndercore Records, the tempestuous release throws its full weight against the ears with opener Demonhead, IWTTWAguitars creating sonic smog to tantalise whilst rhythms punch out their own firm enticement. Soon charging full pelt with antagonism flying from every note unleashed and syllable spewed by the intensive scowls of Peter Bains, the track blisters the senses with venomous toxicity and burns the air with rapacious energy. It is an immense start which without powerfully contagious grooves and hooks still seizes a firm place in the passions and memory before making way for the following Case Closed. A very brief heavy dawning soon uncages an aggressive predation of resonating rhythmic thumping and abrasive riffs which scar and invite the imagination to join their raucous belligerence. As the first it is only the core intent as the guitar spawns its own acidic temptation across the almost crusade like squalling vocals to add further inventive bait to the vigorous conflict exciting the emotions.

     Both the stalking bordering bestial presence of Amongst Enemies and the incendiary incitement of Selfinflicted Slavery continue to whip up the senses and appetite for their riveting and richly assertive declarations, the first equipped with enslaving grooves and a heavy duty riffery around again impressing vocals that chains down and ignites the passions whilst its successor also unveiling a groove potency recruits a full submission whilst flaunting melodic and rhythmic allurement within a tsunami of intensity that easily steals thoughts and instinctive allegiance.

     The heat is turned up even further with the unbridled assault of Killers Deserve to Die, its thrash bred charge a ravaging coaxing into a full bodied soak of militant combativeness and gladiatorial sonic adventure matched by the now expected unyielding vocal passion of Peter Bains. The excellent if too short song again is bred from a unity between the quartet in skill and invention which explodes into mouthwatering aural rages leaving only satisfaction and hunger for more in their wake, a greed soon given more healthy sustenance by the ruggedly forceful and uncompromisingly driven You & I and the more predatory gaited if less dramatic Grounded. Both tracks create another cyclone of inventive and merciless entrapment which invigorate and accelerate the emotions into unrestrained satisfaction, something which equally applies to the whole release.

    The second of the just mentioned tracks does not quite match up to the peaks before and the same applies to the thick and slowly moving Keep ‘Em Down, a smouldering almost overbearing sonic dispute and rhythmic altercation which builds its bulk until expanding into a muscular avalanche of intensity and evocative melodically honed atmospheres. Like its predecessor the thunderous encounter leaves only the fullest impressive suasion but just cannot quite reach the heights set previously. Nevertheless both and especially the latter shows how intensive and extensive the band and their creativity can be and go deeper into ahead.

    The album closes on the hellacious Racist, a track which incinerates and seduces senses and imagination with an intertwining intent wrapped in more fearsomely addictive grooves. It is a corrosive and deviously inventive not forgetting addictive and climactic end to an equally stunning album. Though yet to maybe discover a truly unique sound, I Will Tear This World Apart could well be the next big force to break out of Norway on the evidence of their first assault, though whether the world is ready for such nasty goodness we will have to see.



RingMaster 21/01/2014

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Killtek: The Noise of Rage/Silence of Self Destruction EP


 Norwegian band Killtek is probably a new name to most but on the evidence of their impressive debut EP it is unlikely they will remain so for too long. The Noise of Rage/Silence of Self Destruction EP is a magnetic and intriguing release with a sound which with its merging of genres is a thoroughly compelling and irresistible force.

The Trondheim based band was formed in 2011 by guitarist and songwriter Erik Winther who across the following year recruited vocalist Peter Bains, guitarist Kjell Andres Nilsen, bassist Tommy Kviseth, and drummer Thomas Farstad to the project. The line-up of ex-members of bands such as Torch and Grown Into Nothing has the experience of numerous tours across Europe and Asia and of creating well received albums, a gained pedigree and depth which is openly apparent within the tightly skilled craft and musicianship which fires their first release. Musically the quintet create a unique sound which is part metal, part industrial, and part metalcore, with flames of electro, and groove metal vibrantly flavouring the finely sculpted ambience soaked encounters within the EP. Their sound is enthralling and though arguably the band does not create new aural tools to define their creations they explode with something fresh, invigorating, and distinctly belonging to Killtek alone.

Mixed by Caliban guitarist Marc Görtz, the EP opens with the atmospheric soaking of elegance and sonic seduction of instrumental KILLTEK EPCOVERLeft Behind to Die. It is a melancholic piece which weaves around the ear to mesmerise and inspire emotions of solitude and at times loneliness but is punctuated with aggressive expulsions of striking riffs and matching rhythms. They are provocative moments rather than violent expulsions to intimidate and frame the continually glowing electro wash of beauty and emotive persuasion.

The following Game Changer begins with similar loud whispers, an electro teasing with sinister breath introducing and leading into the brewing shadows and prowling aggression. Before long the track is in full stride with sinews pressing against the ear whilst the excellent vocal brawls of Bains squall and challenge with passion and malice. Where the first track suggested the merger, here the song brings full industrial metal and metalcore might into a seamless union with warm electro enticement to forge an evocative and demanding triumph. The band state influences as the likes of Fear Factory, Emmure, and Cloudkicker, all you can imagine leaving inspiration for this song, but you can also add elements of bands such as Sybreed, Toxic Grind Machine, and The Browning, here and across the whole release, to something which is undeniably uniquely Killtek.

Beyond the Rage continues the post apocalypse soundscape of the EP, its opening cataclysmic narrative the premise for the following sonic ravishing and brutal savagery to follow. Tech metal viciousness from Winther and Nilsen lashes the senses whilst vocally Bains sears and scars with his again impressive scowling tones. Even the keys have a snarl and spite to them which niggles and haunts beneath the brawling furnace of sound and uncompromising rhythms. It is an exceptional track and the biggest storm of the release though seriously challenged throughout.

The following instrumental Infernal City is a chilling expanse of blistered ambience and stark oppressive atmospheres with a dulled yet taunting melodic sun, its lingering warmth sheltered and denied by the bleak landscape and air. It sets the scene for the following conflict and demise of Earth Ends, its opening battle scene soon lost within a grievous maul violating metalcore intensity and rhythmic antagonism. Again the guitars spear and entrance with skill and enterprise to flair against and incite further the malicious assault of the bass and drums, whilst all the while there is that electronic temptation lighting the air though that too feels agitated in certain moments on the track.

The Noise of Rage/Silence of Self Destruction EP is completed by two equally immense and thrilling encounters in the bruising forms of Warlord and Signs, both furies of fierce passionate provocation and intense destructive defiance bought through measured heart borne passion. Killtek has begun the year with a dominant and impressive debut which with things like being booked to play the main stage at Trondheim Metal Fest 2013 alongside Hatebreed, Gojira & Born of Osiris, could and should be the first steps in a swift and forceful ascent for the band.



RingMaster 22/02/2013

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