Khasm – Fenris

KHASM_Band_RingMasterReview

Hailing from Colmar in France, it is fair to say that French metallers Khasm have introduced themselves in fine style with debut EP, Fenris. Consisting of four tracks sculpted from the emotional rancor and creative hostilities of old school thrash and death metal, with additional caustic essences, the recently released tempest is a compelling and increasingly rousing incitement for ears and the band’s already growing reputation.

A quartet made up of vocalist Christophe, guitarist Philippe, bassist Matt, and drummer Laurent, Khasm draw on inspirations which include the likes of Feared, Hatesphere, Six Feet Under, and Hatebreed for their own uncompromising sonic trespasses. As swiftly shown by Fenris, there is rawness to their sound which fits their lyrical confrontations but equally an inescapable if punishing virulence bred in the instinctive thrash side of their creative character.

They are essences which instantly grab ears in the Jocke Skog (Feared, Clawfinger) produced EP and its title track. Opening up the release with a great throbbing bassline, the song is soon backing up its coaxing with a tide of inviting riffs and biting beats. Almost as swiftly it hits its thrash driven stride, badgering and snarling at the senses with a repetitive wave of riffs and Christophe’s vocal hostility. There are no surprises with the track but plenty to get eager teeth into and find a hungry appetite for.

FENRIS COVER_RingMasterReviewIt is the same with No More Justice, the song needing mere seconds to whet ears and the imagination with its opening bait of Clawfinger-esque riffery. That passing lure is soon lost in the predatory prowl and rhythmic stalking of the song, an intimidating invitation in its own right which in turn twists and turns into a web of sonic enterprise and galvanic hooks within the track’s open discontent.

The already impressing nature of the EP continues with Nightwatch, a track featuring the guest sonic prowess of Scar Symmetry’s Per Nilsson. It is probably the most inventive and boldly diverse track on the EP without losing the hellacious nature fuelling those around it. The song savages and seduces across its brazen sonic landscape but does miss the final spark as found its predecessors. Nevertheless, satisfaction is thick and another aspect to the Khasm sound and character welcomed before the outstanding Turmoil brings it all to a thunderous end.

The closer opens on a lone reflective vocal, which soon provides the trigger to a senses harrying pressure of rapacious riffs and irritable rhythms, they matched in tone and presence by vocal rabidity and rebel rousing. Subsequent grooves only add to the thrilling drama and assaultive tenacity of band and track. It is a final addictive roar of punk ‘n’ thrash, the pinnacle of the EP and Khasm showing they can rock ‘n’ roll with the best of them.

Fenris is a powerful and memorable base for Khasm to spring forward from with anticipation for their next step already impatient.

The Fenris EP is out now on CD and digitally @ https://khasm.bandcamp.com/releases

https://www.facebook.com/khasmofficial

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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Skox – Years of Legions

Skox_RingMasterReview

If you have a sweet tooth for raw thrash metal or a soft spot for ravenous death metal, Years of Legions has plenty to eagerly embrace. To be honest, the new album from French band Skox has much for fierce metal fans in general to get their teeth in to across ten tracks which maybe do not always majorly surprise but definitely get the juices flowing.

Formed in 2003 and with their current line-up in place since 2010, the Lyon hailing Skox has shared the stages with the likes of Napalm Death, Hatesphere, Loudblast, Destinity, Blockheads, Mumakill, and No Return over the years whilst also making successful appearances at festivals such as Sylak and Ragnard Rock. An early EP also caught attention but it is with Years of Legions that it is easy to expect real attention gathering. With a sound inspired by thrash and raw metal from across the decades and an album “whose martial tones would convey the band’s ambition through the metaphor of war”, Skox is ready and equipped to wage war on a broader landscape.

The album opens with Entering the Battlefield…, a prelude and lead into individual battles posing as songs. Air and land is swiftly busy with the weapons and intent of confrontation, rhythms raising the flag as melodies lay down the sizzling colour and suggestion of things to come as the instrumental heads straight into the jaws of the album’s title track. A stable yet imposing start to the second track is soon a hellacious onslaught of vicious rhythms and violent riffs matched in grizzly kind by the tones of vocalist Jean-Charles Dupin. It is stirring stuff, a visceral dark thrash incitement driven by the hefty swings of drummer Arnaud Neyret and the grouchy bassline of Florent Claudel. Within this, guitarists Vincent Morelle and Gildas Turpin unite to savage and seduce with sonic and melodic enterprise, the band creating warfare across a rousing challenge with plenty to be beguiled by.

Years of legions_RingMasterReviewClaudel’s bass has ears and appetite enslaved in no time on the following Cell Swelling too; its throaty snarl delicious bait which is quickly matched in steely kind by invasive riffs. Provoking and enticing with every touch, the song scowls and bruises throughout but tempers its merciless intent with great unpredictable side steps into calmer rapacious exploits often led by that irresistible bass tempting. As with its predecessor, the song is not re-inventing the wheel but a fresh and individual character to each is the predominate spice which equally stirs the spirit across the likes of Running Out of Time and Thrashtastik. Amongst influences listed are the likes of Slayer, Testament, and Kreator; flavours which especially come to mind in the forcibly contagious first of the pair with its compelling trespass of a swing. Its successor is relatively less open in influence as it uncages a bedlamic shuffle of thrash voracity and ridiculously catchy endeavour. It is a death dance, a flirtation to destruction and as the previous track, one thrilling provocation.

Engine of Death is a track which stalks the senses, prowling around them with toxicity slavering grooves and brutal rhythmic teeth as the increasingly enjoyable growls and animosity fuelled squalls of Dupin rage. By its close, ears and senses feel like road kill, trodden into its sonic rancor and acid laced melodic dust before Road 666 runs over both again with its own eventful juggernaut of lethal swipes and carnivorous riffs. As with others, Skox infuses the song with tendrils of fiery and evocative melodic invention which aligns with the antagonistic side perfectly; the extremes sharing song and attention like brothers in arms.

One bassline is all March of the Dead took to spark an insatiable hunger in the imagination and appetite, its opening trap the doorway into a bestial consumption of ears whilst Smash Your Enemy matches its predatory prowess with its own particular militarist quarrel. Throughout both Skox again turns familiar essences into their own enthralling and highly incendiary sonic warfare and once more leave a certain hunger for more.

Closing with the instrumentally descriptive ‘epilogue’ of Leaving the Killingfield, the riveting album is an increasingly impressing and rousing encounter revealing more temptation with every listen. Skox is a name hard to forget from a band with a sound which seemingly has the same property going by the effect of Years of Legions over time.

Years of Legions is out now across most online stores.

https://www.facebook.com/Skoxband

Pete RingMaster 12/04/2016

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Mortuary – Nothingless Than Nothingness

Mortuary-photo_RingMaster Review

Formed in 1989, Mortuary has been a potent protagonist within the French metal scene, certainly since the release of their debut album Hazards Of Creation seven years later. The well-received release followed a clutch of demos and awoke the beginnings of broader recognition for their brutal death/thrash onslaught of a sound. Now the band release their fifth album in the ferocious shape of Nothingless Than Nothingness, a beast of a record which might not turn the extreme metal world on its head but definitely gives it a rousing roar to contemplate in 2016.

Since that first full-length, Mortuary has unleashed a trio of attention whipped albums in Eradicate (1998), Agony in Red (2003), and G.O.D. (Glorify Our Destroyers) (2010)whilst live their sound has scarred stages alongside the likes of Coroner, S.U.P., Obituary, Krabathor, Agressor, Hypocrisy, Hatesphere, S-core, and Severe. As Nothingless Than Nothingness rages against ears and sparks the imagination, the album suggests Mortuary is ready to entice a whole new wealth of appetites with its accomplished and maturely honed anthemic barbarity and step into broader spotlights.

Mortuary-cover-artwork_RingMaster ReviewThe initial industrial apocalyptic scenery of brief opener Only Dead Witness grabs ears first, its portentous air soon building into a muggy and intimidating confrontation led by the vocal scowl of Patrick Germonville. Amidst raw suggestiveness spread by guitar and bass, the stirring beats of Johann Voirin provoke a more energetic bellow of riffs and intensity before the scene setter eventually drifts off into the jaws of Empty. An unbridled onslaught from its first few breaths, the second track savages and incites as thrash and death metal collude in a punk infested rampage. The bass of Jean-Noël Verbecq prowls this with zeal as the track careers over the senses, sparking an infectiousness soon taken up by a variety of vocals and the sonic enterprise of guitarist Alexis Baudin.

For all its fearsome breeding, the song is ultimately primal rock ‘n’ roll more than matched in success and prowess by both Tube and Above. The first is a hornet’s nest of grooves and nagging riffs with rhythms just as unrelenting in their cantankerously violent way whilst its successor emulates the predatory toxicity with its own exhaustive and vicious barbarism aligned to a groove loaded tempting. As all songs, the pair reveals unpredictability to the addictively infectious elements colouring their walls of hostility and a creative adventure and craft which may get a touch overwhelmed by the tsunami of intensity but leaves the imagination as enthused as ears.

Through the crusty yet refreshing air and rabidity of Pleasuffering and the hellacious ride of U-Man Slept, K-Os Crawled, the album whips up an even more mouth-watering and debilitating storm. Both tracks come thick in rage and striking flavour blending enterprise whilst Yesterdead straight after has a touch of fellow French hardcore metallers Yugal to its brawling, punk infused trespass.

Song by song, Nothingless Than Nothingness just seems to get stronger and more compelling; whether from raising the ante in invention or by the wearing down of the listener and psyche and it continues with the searing rancor and sonic ferocity of K and in turn the hardcore festering enmity of Morbid Existence. The first of the duo also explores calmer, more ambience hued ventures within its diversely textured landscape of varied metal whilst another furious onslaught of passion rousing death punk ‘n’ roll has the listener in its inescapable grip in the second before the brutalising smog of sonic and rhythmic bad blood that is Kingdom surges through ears with the infectiousness that as much as anything marks out Nothingless Than Nothingness as something to eagerly devour. Once more the band push ideas and expectation avoiding turns within the aural tirade, keeping attention and appetite as intrigued as the sheer force of the encounter feeds bloodlust.

It is a mighty end to an excellent offering from Mortuary; an album to heavily please and leave pleasure thick whilst pushing the band further to the fore of extreme metal.

Nothingless Than Nothingness is out now via Goregeous Productions @ http://goregeousproductions.bandcamp.com/album/nothingless-than-nothingness

https://www.facebook.com/mortuarynancy

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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Absorb – Vision Apart

Absorb_RingMaster Review

There are a few metal bands around the globe with the name Absorb, but certainly standing out in sound alone are the German death metallers carrying the title. Emerging back in 1989, the Bavarian quartet released a pair of demos before splitting up in 1994 but thirteen years later, founders Pfisty and Jochen reformed the band with new and fresh ideas bubbling up to take a sound already unafraid to twist and evolve its death metal seeding, to new potent places.

With a new line-up in place around the original pair, Absorb released Dealing with Pain in 2010 to strongly welcoming reactions from media and fans alike. As their live presence embraced shows with the likes of Obscura, Cannibal Corpse, Pestilence, One Man Army, Sodom, Vader, Hatesphere, The Black Daliah Murder, Morbid Angel, and Arch Enemy amongst a great many over recent years, more personnel changes were gone through, eventually leading to the current line-up of vocalist Volker and bassist Daniel alongside guitarist Pfisty and drummer Jochen who now the unleash the band’s new EP Vision Apart. A gnarly tempest of four diversely flavoured extreme metal furies, the release is a ravenous and rabid confrontation suggesting that Absorb, who recently signed with GlobMetal Promotions, have tapped into a vein of creative venom that could awaken broad attention.

Vision Apart Cover Final_RingMaster Review    The EP starts with a predatory gripping of ears through Perfect Whore, nagging riffs a perpetual tempting as vocals and drums descend greedily on the senses. With the bass a more reserved but no less potent protagonist in the mix, grabbing its moment to grumble within breaks with toxic prowess, the track climbs over the senses and imagination like a serpent. The sonic tendrils of the guitar are as seductive as they are venomous, still flirting with virulence as hostile eruptions unite in a bruising tempest. The track is a superb start to the EP, death metal infused with slithers of other varied metal and noise induced invention.

The following Los Muertos de Hambre is just as flavoursome within its carnal turbulence, again acidic grooves and alluring riffs veining the smog of sonic intensity. Clean vocals bring another enjoyable colour to the forceful prowl, their delivery adding a scent of heavy metal to the creative savagery. Though not quite matching the plateau of its predecessor, the song is a fascinating tapestry of styles and fluid ideas, something definitely fresh and appetising to the more formula genre releases escaping this past year.

The song Undead springs with a similar breeding to the previous track, but quickly revealing its own insidious character in presence and imagination with an impressing mix of vocal enterprise again adding weight and texture to the track. With the bestial sounds at its core and Volker’s great guttural delivery a glorious violation as addictive as the whirling sonic lacing of guitar, the track opener fires up the ears and passions with instinctive ease before making way for closing incitement World Stops Turning.

The final track stalks to the thrash seeded backdrop of driving riffs and rhythmic barbarism interspersed with slower meanders, creating the most destructive and cancerous moment on the release, and another seriously riveting trespass to get involved with. Like Vision Apart as a whole, it is hard to say major originality is being cultivated but the freshness to it all, and the blending of contrasting flavours creates something highly enjoyable and different to contemplate.

Their name might be relatively common but certainly Absorb’s sound has a personality of its own which is very easy to suggest trying out.

The Vision Apart EP is out now.

https://www.facebook.com/Absorbmetal   http://www.absorb-metal.eu/

Pete RingMaster 03/11/2015

Copyright RingMaster: MyFreeCopyright

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Threatpoint – Careful What You Wish For

Threatpoint3

An album you may have missed but certainly need to know about is Careful What You Wish For, the second album from US groove predators Threatpoint. It is a fury of an encounter infusing varying flavours of metal and heavy rock into a snake pit of grooved hostility, and though there are thick strands of recognisable influences and essences, band and album incite nothing less than greed and thick enjoyment with its brand new proposition.

Hailing from Scranton, Pennsylvania, Threatpoint emerged in 2012 and quickly drew potent attention and praise for their voracious live presence and a similarly hungry sound which further stirred up the local and US metal scene through debut album Dead to Rise the following year. It has been an increasing success now creating new waves further afield through Careful What You Wish For, an album over a year in the making and equipped with a torrent of irrepressible grooves, deeply rooting hooks, and a creative antagonism which just gets the blood surging.

The blistering tempest of sound and attitude begins with The Age Of Godlessness, its opening coaxing a provocative atmospheric scene of raw winds and solemn church bells. It is a portrait of ominous dark shadows and scenery from which the track subsequently bursts with ravenous riffs and heftily examining rhythms. The onslaught is torrential and instantly virulent, the raw and ferocious vocals of Chris James the perfect provocateur within a tsunami of aggression and caustic grooving. There is a feel of bands like Devildriver and Cavalera Conspiracy to it as the band mixes styles into a bracing tempest veined by melodic and sonic enterprise.

threatpoint album  It is an explosive and gripping start matched by the following Vultures Of Prey, an even more predatory and sinister corruption of the senses. Though the song has less of the physical and creative rabidity of the first, it is a just as rigorous and intimidating stalking of ears and emotions with a Static X like breath creeping in with vocals and riffs from the simultaneously enticing and savage guitars of Alex Olivetti and Mike White. Two songs in and fair to say Threatpoint would have to seriously go awry to lose the hungry appetite and inflamed satisfaction already ignited by the opening pair of rages. Though some tracks understandably impress more than others, the quintet continues to enslave with craft and diversity as the ferocious Divide & Conquer takes over. The great raspy tones of James prey on ears as the rhythmic hostility of drummer CJ Krukowski and the increasingly bestial qualities of Eric Ross’ bass lay down addictive bait within a flood of salacious grooves. A spicy solo adds further heavy metal magnetism to the torrent of sound and persuasion before it all departs for the sonic devilry of Mockingbird.

The fourth song is bred from a swirling of melodic enticing which seizes precise moments to magnetically flirt with ears from within another tsunami of impassioned intensity and creative voracity, vocally and musically. Once more strikingly different flavours are woven into its ravishment with its substantial melodic and heavy metal colouring employed further in an equally pleasing but darker terrain through Blessings and Curses where they court a black and death metal seeded trespass on the listener.

Collapse almost toys with ears initially, a bedlamic soaking of essences the first fierce hug before song and bands expel a flood of ravenous emotions amidst a brawling collusion of tangy grooves, dogged riffs, and rapier like swings from Krukowski. It is a beast of an encounter, an irresistible ravaging unafraid, as all songs, to mix up its attack and presence to leave expectations redundant and the imagination feeding on more familiar but openly fresh confrontation. It is a brutal highlight springing to another in the hellacious stalking of the senses that is Stronger Than Death. It is yet another offering where vicious hostility and sonic adventure collide in an invigorating raging. As the music is a maelstrom of flavours and styles within each of the album’s cyclones, so are the vocals of James and the band as a broad diversity and delivery shares the singer’s similarly uncompromising and hard hitting lyrics.

The thrash and death spawned Mark My Words has the pulse and emotions racing next, the imagination seduced by a great progressive melodic twist around two thirds in, whilst Devil You Know and Tree Of Sorrow are both rancorous hurricanes eroding the senses but rewarding with more creative infusions and twists of sub genres within metal and rock. Though all songs provide strong individual characters and presence there is a unity in sound and invention which ensures all are audibly Threatpoint, even with the strong feel of a Killswitch Engage or Hatesphere across these particular offerings.

The album’s title track unleashes its carnivorous might and potency next. Sharing its merciless grudge in an irresistible multi-flavoured cyclone of grooves, scarring antipathy, and sonic devilry, the track ignites another wave of greed and satisfaction but finds itself shadowed slightly by the even greater animus and punk infused raw beauty of Secrets. From the deliciously nasty bassline cast by Ross in its first breath, the outstanding song is an insidious and unstoppable seduction with every element and second of its presence sheer carnal temptation.

It all comes to a close with firstly the masterful and sinister menacing of Hatebox, where James finds a Dez Fafara like grievance to his tones, and lastly the compelling When Karma Comes. The final song emerges with an acoustic melodic beauty which simply transfixes as the background sneakily brews up a sonic grievance which eventually erupts in hostile weather embraced in a bad blooded climate.

Given the luck and attention that Careful What You Wish For deserves, it is easy to see Threatpoint making their presence a global one if not now certainly on a near horizon. Their new proposal is not a game changer for the metal scene but gives it a new protagonist to get excited over and that is almost as good.

Careful What You Wish For is out now from most online stores.

http://www.threatpointofficial.com https://www.facebook.com/threatpoint

RingMaster 09/06/2015

Copyright RingMaster: MyFreeCopyright

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Fossils – The Meating

FOSSILS_The Meating_bandpic_lo

Released a year ago, Flesh Hammer from Danish noise alchemists Fossils has, from fusing the senses and passions on its first touch, continued to reign on our weekly playlist, and more often than not in a daily burst or two. The outstanding release from the instrumental noise rockers as their sound generally, is a primal temptation sculpted by the bass and drums of Simon Tornby and Per Silkjær respectively. In that union though, the band breeds hooks, grooves, and rhythms which are as sinister and predatory as they are contagiously all-consuming. The album was pure addiction in our ears and the band exactly one year later have done it all over again with a new release, this one coming with a thrilling twist.

With their new instrumental exploration scheduled for 2016, Fossils have filled the gap between albums and impressively fed anticipation with new EP The Meating. Where that twist comes in is in the fact that this encounter is awash with tempestuous vocals. At the time of the unleashing of Flesh Hammer, the duo enlisted various singers to interpret tracks vocally from the album at its release show. Originally planned as a one off occurrence, the band subsequently took the performers into the studio to record their additions to the original songs, and now we have the quite scintillating and compelling devilry of The Meating; seven pieces from the last album re-interpreted and ignited again vocally. Renamed and presumably re-mixed or re-tweaked musically, unless the vocals transform tracks even more potently than we thought, the EP is another irresistible and storming onslaught from Fossils.

Opener Deadringer features Jacob Bredahl of The Kandidate and once of HateSphere, and under the torrential bombardment of Silkjær’s addictive beats it instantly has ears and attention submissive. It is of course prime Fossils bait, the snarling lure of the bass and its crunching riffs aligning to voraciously swinging rhythms for immediate manna to the ears. Bredakl is soon roaring with his distinctive tones, challenging and raging with attitude and animosity within the increasingly virulent sounds. Already a pungently confronting encounter, the song is given extra causticity and rancor by the singer, and as all the songs becomes a brand new proposition.

The following Taxon is graced by the blistering industrialised contribution of Ultimate Combat Noise, the track brewed into a corrosively attractive and psyche scorching antagonist whilst next Printup Meat Lover takes on a punk crafted guise thanks to Mads Stobberup of Cola Freaks. He vocally brawls over the spicy infectiousness of the equally agitated sound; the track like his voice is not exactly looking for a fight but given a nudge will lash out with relish. It is not the last track to have an infusion of varying punk revelry and those tracks do emerge as favourites, though everything excites without reserve.

   Marie Højlund of Marybell Katastrophy gives Ridge and the Rock a siren-esque seduction next, her ethereal and seductive tones wrapping like a temptress around the wiry lures of the bass and the ravenous energy of the drums. It is a bewitching infestation of senses and lust, an increasingly rabid and psychotic enchantment matched by the punk ferocity of Speedbacon. Seb Doubinsky provides the voice to the Dead Kennedys like take on the original rasher of noise bestiality. The track is ravenous in nature, though nicely contrasted by the vocal porcine fun in a presence barely lasting a minute of length.

The final two tracks steal the show, even if by a slither. Firstly Ham Reader expels an acidic and venomous bluster over its tempest of noise through Mikko Mansikkala Jensen’s bracing throat bred squalls. It is a ferocious and wholly magnetic assault which sets the emotions up perfectly for the final devilment of Ködhabit. The track is blessed by Kim Kix, one half of psyche rock ‘n’ rollers Powersolo, who thanks to Fossils and this release have just swiftly been added to our lustful favourites list. The song as expected launches a torrent of delicious grouchy bass growls and insatiable rhythms but grows further with the deranged tones and delivery of Kix. The song we would suggest is the most startlingly evolved of the bunch from the original templates set by Flesh Hammer, a hellacious rocker which relentlessly flirts with the passions in a way which only an image of Gene Vincent being twisted inside out by and thrust on stage by Cleve Barker’s Cenobites, who then provide the backing sounds fits. We said that every track is a massive and equally thrill, and they are, but the final song of The Meating is another type of creature and looks down on all with majestic lunacy.

The Meating is and feels like a brand new offering from Fossils as we await their next instrumental escapade. Flesh Hammer graced many a best of list in 2014, and we can find no reason why this new offering will not be doing the same come December.

The Meating is available from March 2nd via Indisciplinarian.

FOSSILS will be performing at the three Danish Indisciplinarian Label Nights in late March with label mates Piss Vortex and Anti Ritual at…

26/3 – Stengade, Copenhagen (DK)

27/3 – Radar, Aarhus (DK)

28/3 – 1000fryd, Aalborg (DK)

http://www.meatrush.com/   https://www.facebook.com/fossilsmusic

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Hell’s Domain – Self Titled

Hell'sDomain

Giving the body and senses no time to grab a breath from its first brawling note through to its riotous last, the debut self-titled album from Danish thrashers Hell’s Domain is a storming blaze of thrilling aggression and voracious energy. Without pushing down the walls of the genre, the album is one of the freshest and invigorating thrash releases to come along certainly this year and a marker for other bands to aspire to if they want to permanently enslave the passions.

Formed by bassist Lars Knudsen and guitarist Bjørn Bihlet in 2007 with an intent to conjure up some contagious Bay Area-inspired metal, the band was soon drawing on the combined experiences of being in bands such as Crionic, Hatesphere, Pixie Killers, Artillery, Grope, Koldborn, and Exmortem from the mid-eighties and over three hundred shows with a line-up completed by drummer Anders Gyldenøhr, vocalist Alex Clausen, and guitarist Andreas Schubert in 201,. Produced by Tue Madsen (The Haunted, Sick of it All, Kataklysm, etc.) and released via Punishment 18 Records, the band’s first full introduction to the world is armed with all the weaponry and virulence to thrust them into the widest recognition of devouring passions possible. With a sound sure to re-ignite the hunger bands like Testament, Exodus, and Slayer bred over the years, Hell’s Domain is a force destined to re-vitalise their genre.

Days in Hell opens up the fury, riffs searing the flesh of the ear whilst belligerent rhythms rap hungrily upon the smarting doorways to Hell'sDomainCoverthe senses. It is an immediately incendiary confrontation elevated by the excellent vocals of Clausen and the escaping grooves which taunt before wrapping tightly around the still torrential flow of antagonistic riffery. There is a swarm like incessancy to the attack which only accentuates the song’s temptation and merciless persuasion, but also an intent which is equally sure and precise in its picking and seizing of targets.

The following The Needle and the Vein and In The Trenches continue the immense start, the first caging the listener in a web of drum stabs and hearty riffs before flaring up with scythes of melodic flames which have a near on psychobilly lilt to their punk bred strikes. The song ravages with pack like intensity and ferocity from every second and note whilst drawing a tempering seduction from its melodies and sonic enterprise to defuse the suffering. The mighty encounter is soon matched by its successor, the song initially a more restrained and deliberate enticement with a hard rock beckoning soaking the vocal’s entrance before casting a greater thrall through an Anthrax like adrenaline led predation.

Even at this point you sense something special is brewing up potent toxicity, a hope and assumption confirmed by the likes of the slower persuading yet ultimately passion seizing Order #227, the sonic sand blaster The Walls Come Tumblin’ Down, and especially by the exceptional Crawling in the Shadows. The second of the three is a blistering tempest sculpted by ever impressing destructive rhythms and scathing consuming riffing ridden by magnetically alluring and powerful vocals. The song epitomises the album, it not exactly stretching boundaries but creating a presence and attack which is compelling, virulent, and lanced with individual sonic devilry. The last of the trio opens with a smouldering weave off melodic caresses upon the ear and imagination, its ambience building up to a climactic expulsion which holds off until the colour hued narrative of the guitars have crafted the landscape for the sinew clad adventure to forage. The track once in full stride stalks the listener with its predatory yet welcoming charm, showing again the diversity and inventive thought within the thrash cored tornado of an album.

There is not one sign of weakness or a dip in the staggering strength and lure of the release, songs such as the mighty Dead Civilization, a bruising assault loaded with greedy rabidity, and the corrosively riveting and deliciously wanton As Good As Dead only accelerating the deepening call of a set in rapture whilst the exhilarating primal force of A Good Day to Die leads the pulse rate and heart into dangerous territories, whispers of Suicidal Tendencies only raising the toxicity of the song’s bait.

Completed by a cover of the Crionic track Sneaking Disease, Hell’s Domain has unleashed undoubtedly one of, if not the very best thrash record of the year and a contender for the most enjoyable metal album full stop. Now this is how to spend those coming autumn months, locked in the maelstrom that is Hell’s Domain.

http://hellsdomain.dk/

10/10

RingMaster 24/09/2013

 

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