Mass Infection – For I Am Genocide

Mass Infection - For I Am Genocide band photo

A smothering which denies a breath to be stolen and light to pierce its intensive tsunami of voracious intent, For I Am Genocide from Greek death metallers Mass Infection is an immediate treat which just gets better and stronger the more time given to its infestation of ears and imagination. On first encounter the immediately impressive and compelling release is a brutal persuasion which does not leap out as something particularly unique in the grand scheme of extreme metal but as with all releases a concentrated focus needs to be given to which in this case the rewards are rich and full. That is not to say that For I Am Genocide stands alone in the torrent of equally rapacious bands and releases but it definitely has an individualism to its character and striking creativity which is contagiously refreshing.

Released via Comatose Music, Mass Infection’s third album pushes the Livadia quartet into a richer and more intensive spotlight to that already earned by their previous releases. Formed in 2003 the band has been a constant attraction for their technically resourceful and barbarous sound, taking influences from band such as Deeds of Flesh, Hate Eternal, and Severe Torture into their own exploration. Their sound is a brutal engagement and as their previous albums alone have shown the band is able to strip senses and emotions bare with barbaric efficiency. Both Atonement for Iniquity and The Age of Recreation left a formidable mark for the band in presence and sound which made anticipation towards For I Am Genocide more than eager, and it is with this impressive release where it is easy to feel the band’s time to step into the higher echelons of metal is nigh.

There is no initial coaxing or gentle persuasion from the album, opening track Praised By All the Entities charging the ramparts of the Mass Infection - For I Am Genocide 5x5 300dpisenses with flailing riffs and ravenous rhythms heading the onslaught. Their voracious appetite is an immediate unveiling but shaped by a precision and intent which puts accuracy before barbarity. The equally antagonistic guttural vocal squalls rigorously enhance the venomous suasion, their scowling touch strong if not dramatically gripping but adding another coarse texture to join the violating sonic prowess and intrusiveness of the band. It is a masterful magnetic start to the album setting appetite and imagination alight with hunger.

The pestilential rapaciousness of The Scourge of Living Forms is next to aggressively embrace the ears, the track a maelstrom of craft and malevolence which is as exhaustive as it is primordially infectious. The mouthwatering grooves as in most songs do the true enslaving so the vicious rhythmic enterprise and vocals causticity can cast their insidious web. It results in a threat and corruption which buckles knees and destroys emotions but leaves full satisfaction and committed temptation in its wake, an evocation covering the whole of the album as shown by the similarly corrosive Hierarchy of the Highest Abomination. The song is a plague of insatiable riffery and rhythmic disorientation speared by acidic strikes of sonic lures which entwines toxic bait around the ears. Again it is a captivating abuse though the track does reveal the issues, though minor, which prevent the album being thought of as a classic. Not for the last time there is a repetitious element across songs, here incestuously bred grooves from its predecessor making admittedly appealing but openly obvious calls. Such their potency and of other examples like it, this does not deflect from the might of the album but does help that inability to stand aside from the crowd, as does the surface similarity of violence which enslaves the senses making that intensive investigation essential to discover the deep rooted ingenuity.

     Beholding the Throne suffocates the body next, its darker throat of sound and breath a predatory consumption matched by bile driven heavy vocals whilst its successor Unearthly Legion continues the hellacious blight of merciless rhythmic cruelty and horde like attack of riffs and grooves. It also infuses a veining of sonic pathogenic like tempting which ignites further fierce flames in the passions. Both tracks leave body sapped and imagination, not to forget appetite greedy, a lustful want easily sufficed by firstly the asphyxiating malicious web of intensity sculpted by Maelstrom of Endless Suffering and then the hateful depths of Beyond Perpetuation, a track which ensnares, tenderises, and devours the senses before taking them on a hellacious descent into the darkest pit of the album within a soundtrack of crippling rhythmic skill and sonic malefaction.

Nihilism Reigns is a glorious sonic scourge of melodic intent envenomed by addictive toxic seduction which leads the listener blissfully into the closing transgression of the body by The Genocide Revealed, a last drowning within carnivorous intensity and grooved spitefulness sculpted by the band’s expert individual skills honed into one irresistibly hostile trespass. It is a superb end to an even more immense release. Mass Infection with For I Am Genocide has not set new benchmarks for death metal but without doubt provided one of the highlights of extreme and creative enmity for the year so far.

http://www.facebook.com/pages/Mass-Infection/129646357120635

8.5/10

RingMaster 02/04/2014

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

 

Unveiling seasons: an interview with Jon Kunz of Rivers of Nihil

RoN

The Conscious Seed of Light is a startling album, a captivating confrontation which devours and stretches senses and thoughts alike with superbly accomplished textures and ruinous craft. The debut from UK progressive death metallers Rivers of Nihil it is an incendiary and uncompromising slab of inventive death metal which resourcefully and skilfully earns all the deserved acclaim it has and will receive. Seizing the opportunity to find out more we had the pleasure to talk about the album, its theme, production and much more with guitarist Jon Kunz.

Hello Jon and thanks for talking with us.

Firstly can you give us some background to the band, it members, and the time leading up to and the beginnings of Rivers of Nihil?

The band was formed in the spring of 2009. Me, Ron, and Jake played in a band prior to forming Rivers of Nihil. We played 1 show as a trio, with Brody and Biggs joining almost immediately after the show. They both were the core of a band who had line-up problems , so they decided to end the band and join up with us. Biggs actually played bass on the first Rivers of Nihil demo, which was a Basement recording of “Human Adaptation”. Brody also filled in for a few shows on second guitar in our old band, so the connection was already there. We tried unsuccessfully to have Brody join Rivers when we first formed, but he was still committed to his other band.

Was there a particular intent or drive to the band as it came to life?

After our old band ended, me and Ron continued to jam on some stuff, but nothing really was working out. We were bullshitting one night about playing shows and how much fun we had, so we figured we’d try to do another band and play death metal. That was the only goal when the band formed and still is our main goal to this day.

Tell us about the band name, is there a big story/meaning behind it or is it just one which emerged and sounded good?

Like any other band naming process, we were throwing around name and Jake said “river of nihilist” or something similar that sounded cool but didn’t make sense whatsoever. I thought of “rivers of nihil” as the idea of existence being nothing. We made the idea fit the name after we came up with it , so it really means nothing.

You have just released your impressive debut album The Conscious Seed of Light, a release we called a demanding and intrusion affair as RiversOfNihil-TheConsciousSeedOfLightwell as one which constantly stimulates and ignites the imagination and passions. There is a definite organic feel to the offering as it provokes and incites the senses; how much is natural evolution in your music and how much of the album was a deliberate steering of its direction and intent?

Thank you! We’re glad the album moved you in such a way. We were looking for a very bleak and depressive atmosphere, something that can give you the chills. That much was intentional, as was the way we approached the songwriting. With the exception of the older tracks we re-recorded, we wanted to write songs, no just some riff and riff thing.

The album is according to the promo release with it, the first of ‘four separate albums tied together with one common theme: each reflecting a particular season of a year.’ Can you expand on that for us and will there be an intense and interlinking connection to the releases than just the overall idea?

Each album will be tied together by the seasons. The next will be the summer. How it’s linked together besides the seasons? Wait and see….

The songs within The Conscious Seed of Light undoubtedly work singularly but equally do feel as if part of a larger canvas. How easy was that to achieve or was it more a case of letting tracks find their own place in the theme naturally?

There wasn’t any thought of naturally linking the songs, rather we wrote them to be able to stand strong on their own before anything else such as theme or concept. When the record was finished being written, we realized they all offer something different but still work cohesively which is awesome. We definitely want the listener to take in the whole thing in from front to back though.

How does the songwriting and its realisation work within Rivers Of Nihil from a song’s initial concept?

Either me or Brody will come forward with some riffs or even a whole song and we’ll start working on it in the practice spot. The last few songs that were written we’re demoed on Brody’s computer , so that is something that we’ll be moving towards with songwriting for the next album.

You recorded The Conscious Seed of Light with legendary producer Erik Rutan (Hate Eternal, ex-Morbid Angel). How did that come about and how was the experience?

We’re forever indebted to Erik. He reached out to us after we released our first EP expressing how much he dug the band and wanted to record us if the opportunity ever presented itself. Being able to record with a death metal legend such as Erik was incredible and something we’ll all keep in mind for the rest of our lives.

Did you learn new things about your songs whilst working with Erik and what emerged most potently from the recording which you will take into future releases?

For sure…the biggest thing we realized is a lot of our riffs, especially the octave chord ones, are a huge pain in the ass to record due to our low tuning. We had a hell of a time keeping our guitars in tune perfectly for those parts. I think we look at riffs more closely in that regard now.

riversofnihilband2013_638Do your songs continue to evolve from their  ‘demo’ state in the recording process or are you a band which has a pretty much tied down idea and intent with how tracks will emerge before entering the studio?

We have everything completely finished going into the studio. We do pre – production to keep things as smoothly as possible. The studio is stressful enough as it is, outfit it knowing the songs going in make it a million times harder.

How would you say your songwriting and sound has evolved since your early EPs, Hierarchy and Temporality Unbound of 2010 and 2011 respectively?

I’d say we’ve realized the power of song and feeling rather than sheer brutality. A lot of early stuff relied heavy on that, but it’s the easy thing to do for us. We find more enjoyment now doing things the way we do, but I guess you can relate that to growing up a bit. The first Rivers song was written when I was 18. I’m 23 now, I hope I’ve grown up a bit since then !

What brought about the link up with Metal Blade Records, who did the chasing 😉

Tour, tour, tour . Honestly I’d say the hard work we put into this band brought us to the attention of Metal Blade.

Can you tell us about the great artwork for The Conscious Seed of Light?

Dan Seagrave is the fucking man. When we were brainstorming ideas for album art, he was at the top of the list of artists we’d want. Luckily for us he dug the concept and we got a sick piece of artwork.

You are and have been touring and gigging intensely for the album, an area we assume which is just as much a potent outlet and adventure for your creativity and imagination, not forgetting energy. How has that been going and what is ahead for the rest of the year going into 2014?

Touring has been great for us. Being able to go out and see new places and meet new people is a huge reason why we do what we do. The energy you experience on stage is intense, it’s soul appeasing. We’ll continue to do what we do in 2014 and onward.

Are you already deep into plans of the next songs and album or is that too early to contemplate right now?rivers-of-nihil

Maybe 😉 the album was released less than a month ago, it’s still way too early.

We have our ideas but what does The Conscious Seed of Light hold which makes it an important and to our mind an essential investigation for our readers?

It’s hard for me to separate myself considering how much we put into the record. We try to keep it real. No bullshit.

Once again many thanks for sharing time with us. Would you like to leave a final thought or word?

Thank you for the interview ! Get drunk.

Read the review of The Conscious Seed of Light @ https://ringmasterreviewintroduces.wordpress.com/2013/10/17/rivers-of-nihil-the-conscious-seed-of-light/

Pete RingMaster

The RingMaster Review 04/11/2013

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

Perversion – Pillars of the Enlightened

perversion_3

Formed in 2006 and hailing from Dubai, United Arab Emirates, death metallers Perversion are now ready to wake up a greater awareness for their intensive sound with the help of Blast Head Records. Debut album Pillars of the Enlightened was first self-released last year and brought stronger attention on the trio but now with N. American poised to be consumed through the Canadian label, things are stirring for one of the few if only death metal act in the U.A.E.

Originally a quartet, Perversion goes for the jugular with unbridled and unpolluted death metal. It is a sound which holds no surprises yet has a devious intrigue which pulls you back into its clutches time and time again. The release of their first EP The Origins of Horror in 2008 made them a potent force in the local scene as did their live shows, if further afield they understandably were an undiscovered scourge. Consisting of founders Mahmud Gecekusu (ex – Nephelium) and Rhama Al Rhama alongside Alex Micklewright, the band is poised to welcome greater recognition and concerted focus with their powerful and deeply satisfying full length introduction as they build on successful appearances with the likes of Hate Eternal and Grave as well as at festivals alongside bands such as Suffocation, Vader, Origin and Exodus.

The short impressively executed intro/instrumental Through the Void begins the album’s aural tale, its dramatic and epically carved Cover Artwalls a potent beckoning into the heart of the album and next up Aging the Unbirthed. The second track makes a sure and forceful start if without showing its full strength and muscle. Soon into its stride though the band captures the imagination with a heavy blaze of intensive riffing from the guitar of Gecekusu and a barrage of predatory rhythms conjured and unleashed by Micklewright alongside vocals from bassist Rhama which hold an almost expected but accomplished guttural squall of malevolence,. It is a mighty start and if not ground breaking leaves an open appetite for more.

That hunger is soon appeased by The Great Deception and the title track, both continuing the intense stance and spite of the album in individual yet connected ways. The first offers tight expressive grooves and sonic flames within its stringent savagery to twist things a little further within Pillars of the Enlightened, whilst its successor just chews up the ear with carnally bred expanses of debilitating rhythms and carnivorous riffs. Already there is a similarity forming certainly across the surface of songs which the next up excellent Subconscious Mutation does little to dispute even in its glory, and if anything that is the biggest down on the release. That is not to say each track does not have its own facets and lures but a more determined delving into the depths of songs is often needed to find a memorable lingering mark distinct from the others.

Both Gates of the Multiverse and The Origins of Horror tease and taunt thoughts and senses with style and presence, the first through winding grinding grooves which work their way through to the psyche and wrap searing tendrils around their capture whilst its thrilling companion is deceptively insidious in its climb over and consumption of the senses, riffs and sonic weaves a tempest which shadow the lethal intent at work from bass and drums.

The pleasing Ones of the Beyond starts the closing of the album with a strong similarity to The Origins of Horror, though again a detailed watch reveals more than first assumed, and is then pushed aside by the thrash led rampage of Dementia (Of Devourment). Like a pack of ravenous wolves the song snarls and clamps its feisty jaws on the listener throwing and pulling them through an eventful fire of destructive and malicious intent.

It is an exciting end to a strong and pleasing album. Pillars of the Enlightened certainly is not attempting to set boundaries or reinvent anything within the genre but instead Perversion has created an album which feeds and satisfies all the wants you could have in a straight up death metal beast. Greater adventures you feel will come with the band ahead but right now they have laid down a very decent no frills slab of metal.

http://www.facebook.com/Perversion.band

8/10

RingMaster 30/07/2013

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

Colosso – Abrasive Peace

 cover

    Colosso in name and colossus in sound, the one man project is an immense and staggering confrontation of inventive and adventurous death metal as evidenced by debut album Abrasive Peace. Veined with flames of dramatic and varied genres inspired sounds and dynamism which leaves exhaustion as one of its potent legacies, the release is a thrilling and hungry destructive treat which marks this Portuguese band as a formidable contender, if not now undoubtedly in the future, in the ring graced by established death metal giants.

The Oporto based project is the solo invention of vocalist/multi-instrumentalist Max Tomé which he began in 2011 with the initial idea to write a death metal album where many other influences and soundscapes would fit in, something successfully achieved it has to be said with the album. In the March of that year Tomé invited Dirk Verbeuren (Soilwork, Scarve, Devin Townsend, Jeff Loomis) to play drums for the album which he agreed, the album itself going on to be mixed and mastered by Paulo Lopes. Originally a limited self-released encounter physically and as a download last year, the album has been picked up for another deserved wider venture into the world by Canadian underground label Mulligore Production. Also available with Peaceful Abrasiveness, an instrumental version of the release, the album is a stunning and invigorating bruising upon the senses with the fullest of rewards and satisfaction in tow.

The diverse flavour and enterprise of the album comes with the influence of, in Tomé’s words “Musically, this album is the sum of four of my favourite bands: Hate Eternal, Decapitated, Meshuggah and Devin Townsend” and “Lyrically, Abrasive Peace focuses on several themes, such as the butterfly effect, the search for perfection, or the inner need to disconnect from everything and just forget about the world.” The depths and textures of both aspects are as captivating as the sonic and brutal onslaught of intensity which swamps the ear and beyond into full and willing capitulation. It is a monstrous ravaging from start to finish but loaded with moments of almost tenderness and understanding restraint which seduces the passions further, though ultimately the predator instinct of the release and songs always has its sadistic way.

The starting electro caress of opener  Anthem To Chaos initially raise eyebrows but once joined by a tirade of rhythmic brilliance and rapacious riffing it becomes with the melodic call of the guitar sparking the atmosphere, a warm and intriguing temptation. The vocals of Tomé are savage and uncompromising yet like the corrosive breath of the attack elsewhere has a lure to its violence which falls into perfect place and persuasion alongside the ever evolving soundscape of the track. The unbridled snarl of his bass again captivates individually whilst combining with all elements for an unrelenting expanse of creative and absorbing aural animosity and evocative imagination.

Like across the whole release, the first song leads straight into the following might of Demolish To Rebuild, a furnace of a track raging with vocals and rhythmic malevolence wrapping in a wonderfully acidic and melodic narrative. From the initial fire the track is a deliciously seductive aural tale of skilfully crafted beauty and provocative ambience which transports the listener to a place of safety though with its own teasing shadows before a final blaze of aggressive vehemence ravages all.

Through the intensive and grievous Pattern Of Disconnection and The Epiphany, the single from the album, the release chews on the already set in wounds with fascination and enterprise, the first with a certain bestial intent but reined with a toxic groove which niggles yet ignites the purest ardour whilst the second of the two tracks unleashes a blistering technical havoc which Meshuggah would greedily accept as their own and a sonic lancing from the guitar which spreads and cages the senses like a steel web.

Track by track the album continues to hold the passions tightly in its invention and craft, In Turmoil and Thou Shall Never Be Benevolent feverishly gnawing at the senses and emotions with their own unique carnivorous appetites whilst Headless Endures uncages a rhythmic and murderous frenzy which leaves molten psyche bubbling with contentment.

The closing Unplugged From The World explores and exploits thoughts and emotions for a final triumphant tempest of imaginative evocation and severe inventive agitation. It is the perfect summing up for the album with the drumming of Verbeuren constantly jaw dropping and exciting whilst Tomé unveils a wealth of thought, craft, and originality in his songwriting and musicianship that you cannot help suspecting he and Colosso will go on to truly major things. Abrasive Peace is an album which takes time to reveal all its glories, making every encounter fresh and adventurous, but equally breeds a sure appetite from the first moment it venomously licks the ear, and simply is a must check out album.

www.colossometal.com

9/10

RingMaster 06/06/2013

 

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

 

Hellspawn: The Great Red Dragon

    hellspawn

    Uncompromising and ravenously destructive, The Great Red Dragon from Polish death metallers Hellspawn takes no prisoners sonically or in intent. It is an album which ravages the senses with impressively accomplished craft and merciless corrosive energy to leave one exhausted and reeling under its weight of sound. It is also admittedly a release which seemingly refuses to take adventurous avenues within the genre or break down existing ideas into something truly distinct, yet from start to finish it leaves one wholly satisfied and unreserved in wanting to stand before its confrontation time and time again.

Hailing from Wieluń, Hellspawn formed in 2003 and by 2005 with a settled line-up had their first record, Demo 2005 released via Chilean label Infernal Overkil and Nihilistic Holocaust in France, the second as part of a split release. 2010 saw debut album Child of Hell released through Exploratory Drilling Productions to strong responses, reactions which have been surpassed by The Great Red Dragon upon its unleashing via Wydawnictwo Muzyczne Psycho last year. An album apparently heavily influenced by the work of William Blake, it is a release which though having been released last year deserves to be in the awareness of all extreme metal fans. As mentioned it does not offer anything new but the release is undoubtedly a thunderous engagement with sounds derived from the likes of Morbid Angel, Hate Eternal, Behemoth, and Marduk and one which leaves no one bored.

The album demands attention immediately with the initial thumping rhythms of The First Banner In The Fields Of Devil and its9696_327937233949105_1666372934_n caustic guitar scraping of the ear. It soon collects all its elements for an explosive torrent of crippling rhythms from drummer Robert Kolman and tight cutting riffs from guitarists Marcin Garyga and Daniel Drosiński, whilst bassist and vocalist Mariusz Konieczny unveils the deepest shadows with his intimidating lines and heavy vocal squalls. The track evolves into a maelstrom of sonic guitar mastery and hungry intensity rhythmically and vocally, the heavy growls of Konieczny malice drenched.

The following Word Becomes Flesh continues the formidable start with its own primal violation and sonic torrent of aggression. Like the first, the song ripples with ideas which though not exactly new keep the song fresh and intriguing whilst in its overwhelming company. It has to be said even at this point that once a song departs it is not that easy to remember anything in particular about them when looking back, and that also applies to the album as a whole, but within their tumultuous battle they do not let anyone or any appetite down.

The likes of Hellspawn, Diabolic, and the title track blast the senses and thoughts with more unrelenting malevolence and undeniably skilled enterprise, the last of the three a particularly carnal ravishment which sears the flesh with its acidic grooves  and callous riffing not to mention barbaric rhythms.

It has to be said the second half of the album is its best started by Intro To The Revelation, the gate way into the most creative heart of the release. The shimmering instrumental makes way for the highest point of the album, Revelation Of The Great Red Dragon. It is a colossal compassionless scourge with viral grooves, captivating sonic imagination, and pillaging violence, and the one song which does linger and prompt memories after its despoiling of the senses, though it is equally matched by The Dice Are Cast, another herculean ravage upon the person and psyche. Both tracks show how good the band are and could be with a richer uniqueness to their presence which conversely does leave the rest of the album looking less impressive in some ways.

The album makes sure every song is at least within its companionship something which leaves scars of spite and pleasure, the final tracks The Greatest King Among Demon and An Obelisk Of The World no weak exceptions. Both drive to infiltrate further within the listener if not with invention than with sonic violence as presented by some great guitar solos and piercing fire branded notes. The Great Red Dragon is without doubt a brief, at less than thirty minutes in length, but great album, and if you are looking for a release extremely well done but prowling familiar extreme metal territories then this is one not to be missed.

http://www.facebook.com/Hellspawn.Metal

7.5/10

RingMaster 15/02/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

Aeon: Aeons Black

by Fredrik Wallin

Unleashing a torrent of destructive irreverence and corrosive annihilation, Swedish death metallers Aeon return with their staggering fourth album Aeons Black. Released through Metal Blade Records, the release finds the band at its mightiest yet, in aggression and venom as well as in craft and imagination. The sound which rips apart the senses is that which the world has come to expect from the band but now rippling with a variety and groove veining which is elevated and maturer than ever before from the quintet. It is a colossal album and without doubt one of the very best genre releases in a long time.

Since forming in 1999, the band has experimented with and stepped aside of old school death metal for greatly inventive results which has shattered minds and captured the imagination. From their early demos and 2005 debut album Bleeding the False through the following Rise to Dominate and Path Of Fire, in 2007 and 2010 respectively, the band has reaped acclaim and plaudits from fans and media alike. Tours and shows alongside the likes of Hate Eternal, Misery Index, Mayhem, Cerebral Bore and Flyed Disciple to name some, only cemented their reputation for merciless sounds and their ferocious delivery. Recorded with Ronnie Björnström (Garageland Studios), Aeons Black is their greatest moment yet and opens the deepest pit of satisfaction possible.

The album swoops upon the ear with blistering sonic outrage and unbridled blastbeats within They Still Pray, to immediately begin a violation which numbs thoughts and emotions. The riffs from guitarists Zeb Nilsson and Daniel Dlimi churn up the senses whilst the additional tight acidic enterprise sears the flesh wonderfully, and alongside the raptorial expertise of bassist Marcus Edvardsson and the towering rampage of drummer Arttu Mallki, sends pleasure into overload. Led by the bestial fury of vocalist Tommy Dahlstöm, his passion as oppressive as the intensity preying around him, it is an outstanding entrance from the album expanded upon throughout the untethered debilitating outpouring.

The sonic charnel pit of The Glowing Hate ruptures the synapses next with its twisting predatory groove and abrasive storm of riffs, the track another delicious furnace of spite lyrically, musically, and emotionally. It erodes the defences like a sandstorm upon skin, the caustic rub an incessant riot which finds a slight restraint before bleeding into the emotive piano led instrumental The Voice of the Accuser.  It is a brief beauty settling the spawn disorientation before the rabid malevolence of I Wish You Death opens up a new unbridled flood of snarling violation. As with most tracks, the song is an unpredictable canvas of evocative melodic and sonic mastery within a ravaging scourge of sound which fires up primal energies and hungry ardour. Four tracks in and the album stands as a titanic encounter and the immense quality and angry violence just keeps coming.

Tracks like Garden of Sin with its intense gnawing sonic ravishment and the rapacious Nothing Left to Destroy which ends with a compelling and chilling insidious whisper of a reclamation, continue the irresistible brutality to trigger greater passion before the merciless effacement whilst the title track is malice and poison given tumultuous life. The track crawls and consumes the whole body to lay seeds to an aural festering and sonic manipulating which extinguishes all light before drawing out the fullest rapture to its nasty and rewarding presence.

Before its departure Aeons Black lets loose other crippling treats in the shape of the bruising cyclones Dead Means Dead, Sacrificed, Blessed By the Priest, all increasing the vindictive pleasure given, and then closes on the twin barrage of noise and malignancy of Maze of the Damned and Die By My Hands to suck out and destroy any hope possibly left intact. By the end, every aspect of the body is smarting from the insatiable hate and aural extirpation but glowing from the incisive and impacting enterprise within. It is a giant of a release and one which is without question essential investigation for all extreme metal fans.

https://www.facebook.com/aeon666

Ringmaster 20/11/2012

Copyright RingMaster: MyFreeCopyright

Offending: Age of Perversion

Taking its heart and breath from the US seeded strain of early death metal, French band Offending has brought a fresh if not new air to the genre with their second full length release Age of Perversion. It is an album which wears its influences like battalion colours and engages and assaults the senses like a merciless determined force. It does not venture too far into new pastures or ignite the fiercest fires with its sounds but the album is far more intriguing and absorbing than most, its skilled play and perpetually contagious imagination ensuring a full and satisfying experience each and every time.

The Bordeaux based quintet of vocalist Jesus The Butcher, a man with a tar like bestial delivery, the striking and inventive guitarists GP and Cyriex, and a rhythm section to incite the deepest primitive instincts in bassist Yoni and V.R. on drums, send the ear and senses reeling with a sound recalling the likes of Cannibal Corpse, Suffocation, Vile, Hate Eternal. Up to this point the band has grabbed a mounting attention through their 2005 demo as well as stage sharing with the likes of Killers, Genital Grinder, Necropsy, and Prophecy. They further accelerated that interest with 2007 mini CD The Destruction of The Human Spirit which marked the debut to the band of Butcher and Yoni, and their greatly received debut album Human Concept of 2010 through Deepsend Records who have also released the new album. Age of Perversion has found the band deepening their obvious creative skill and thought whilst emerging as a release which is brutally intrusive and infectiously manipulative, and sure to increase the acclaim.

The album opens with Infested By His Burden. The track offers an initial sinister and ominous crawl to its energy with the guitars almost teasing the ear whilst the rhythms behind have an insistent but yet to be demanding intensity. It cannot hold back for long though and soon the song is eagerly feasting upon the ear with incisive and divisive guitar craft and drum intimidation. As the track evolves it changes in to an even more combative militant gait, the previous insistence becoming a domineering violence. Though by its end one finds it easier to remember particular elements than the song as a whole it is still one of the more gratifying tracks whilst in its abusive company.

A triplet of consecutive highlights next follows, a trio of exceptional tracks which leave the others on the release in their wake. Firstly there is Within This World, a track with a hunger to twist and manipulate the senses like a military trained wizard, their consumptive intensity consistent and devastatingly exact whilst completely mesmeric. The blend of technical persuasion and bludgeoning malevolent is impressive and entirely insatiable in its desire and ones welcoming. This rampaging melodically armed annihilation leads into the equally ravenous Modern Enslavement. It is like its predecessor a track which blinds one with its dazzling guitar invention and scorched melodic beckoning to the overwhelming destructive purpose of the storming intensity around it. Though not quite as contagious as the previous song it is equally outstanding and thrilling.

The third of the strongest peaks on the album comes in the shape of best track of all, Dominion XXI. The song captures a pure infection with its melodically bleeding riffs and hypnotic rhythms, using the combination as a lure for the senses in the face of another full strength bone splitting strike. There is an anthemic pull for the emotions from the song, its urgent inciteful energy and drive sparking eruptions of instinctive dormant malignance.

These three tracks are worth an investigation of Age of Perversion alone but are ably supported by the likes of the venomous Religion Depravity, the corrupting title track, and the synapse rioting Hopeless Submission, all making for an album which is a very worthy use of any ones time.

Age of Perversion as mentioned is maybe not the most original release and apart from the truly outstanding threesome of quality arguably lacks further immense artillery to constantly enflame the heart. It is though one of the more pleasing and enterprising albums from the genre and easily a companion to share multiple times with and that is what it is all about surely.

RingMaster 18/06/2012

MyFreeCopyright.com Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.