Castrator – No Victim

photo by Jorge Riaño

photo by Jorge Riaño

It is fair to say that the focus of plenty of the carnage and brutality cast by extreme metal songs protagonists are women; ‘weak’ dispensable victims to suffer and be abused as a theme. But now they have a voice and a just as lethal instigator to lead an uprising in the shape of death metallers Castrator, a band turning the tables and dishing out their own unrelenting revenge and creative ruin. The band consists of five pissed-off ladies, but each is also a skilled musician creating a voracious sound and in the shape of the No Victim EP, a debut release to match.

NYC based Castrator is made up of an international and prolific musicians hailing from Colombia, Florida, Mexico, Massachusetts, and Norway. Identities and background are scarce to be honest but the line-up of the band is vocalist M.S., lead guitarist/vocalist P. Serrano, rhythm guitarist M.D. Åkesson, bassist Robin Mazen, and drummer C. Perez. Their sound is sheer death metal ravishment which has led to references to Cannibal Corpse, Cerebral Bore, Dying Fetus, Incantation, Obituary and the likes coming their way. They expel an emasculating extreme brutality which certainly on No Victim rages lyrically, sonically, and emotionally on the listener like a primal tsunami.

frontcover     The first intensive examination comes with Honor Killing, a fury of ravenous riffs and excruciating rhythms from its first breath. There is no escaping its ferocious and rabid onslaught, or the melodic enterprise which subsequently veins the tirade of viciousness. The song also has a core swing to its tempest which is as contagious as the predatory riffery driving the incitement, whilst vocally the venomous deliveries have an intensity and uncompromising expression which instils even greater hostility in every syllable spilled. It is fair to say that the band is not worrying the outskirts of originality with the song but it barely matters in the thrilling abusing of ears and igniting of pleasure.

The following Brood has an even heavier destructive breath to its raging, every riff seeming more rabid and rhythm malevolent than the one before, a potency matched by the guttural vocal confrontations. Featuring a guest solo from Immolation guitarist Robert Vigna, the track grows in stature and dark devilry with every minute of every listen, bass imagination and guitar grooves especially flavoursome with their toxic endeavours.

The Emasculator opens on a sample from the film Hostel 2, male destruction the fuse to an unbridled and corrosive sonic devastation of the senses. Hooks and grooves again add inviting spices to the wall of rabid maliciousness but it is an avalanche of sound and rancor unafraid to twist and turn with unpredictable ideation and at times doom bred enmity. It is an outstanding track quickly matched by the EPs title track, itself a cancerous trespass of sound entangled in wiry grooves and blistering sonic spite aligned to a rhythmic tirade and discordance. As its predecessor, the track is a web of at times understated imagination, little turns and sparks of invention swallowed by the onrush of sonic and rhythmic violence but bold enough to still reveal their qualities.

The final two songs offer the strongest uniqueness upon the EP, and all leave appetite and bruised senses hungry for more. ‘Hell hath no fury like a woman scorned’ the saying goes, and now armed with the craft and attitude of Castrator, the worm has turned within extreme metal with exciting results.

The No Victim EP is available on CD now via Horror Pain Gore Death Productions @ http://www.horrorpaingoredeath.com/store/hpgd109.html and digitally @ https://castrator.bandcamp.com/album/no-victim-ep

https://www.facebook.com/CastratorBand

RingMaster 06/05/2015

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Frostbitten Kingdom – The Winter War Symphony

FK Cover 1500x1500

The Winter War Symphony has had a battle all of its own in its journey to face the world, a turbulent adventure which finally comes to an end with its global release via Wormholedeath. The transfixing creation of Finnish extreme metallers Frostbitten Kingdom, the five track release is a breath-taking and epic exploration of a stark landscape within a grim world flooded with just as erosive and haunted emotions. Its title perfectly sums up the encounter and its rugged terrains of malevolent and brutal hostility aligned to an impassioned melodic and symphonic beauty, black and death metal combining for a gripping and ravenous dark emprise which shows no mercy for the senses but inspires the most vivid exploits in the imagination.

Hailing from Turku and formed in 2004, Frostbitten Kingdom drew on inspirations from bands such as like Dissection and Immortal as they explored and cast a sound drawing on Scandinavian black metal as well as US strains of death. From debut album Through Nightfall Storms and Sunless Dawns in 2007, the band was increasingly drawing attention at home, and as the Towards the Battlefields MCD of the following year, second album Obscure Visions of Chaotic Annihilation, and third Infidel Angel in 2009 and 2010 respectively continued the band’s emergence, tapping into a wider and broader spotlight. The latter releases also showed a stronger influence of American death metal, with essences of bands like Deicide and Immolation being offered as references. Their live presence equally drew potent interest and praise as Frostbitten Kingdom played with bands such as Bal-Sagoth, Solstafir, and Venom.

2011/12 saw the band concentrate on writing and recording fourth full-length The Winter War Symphony, with its release scheduled for 2013 through No Sign of Life, who had released the previous album. This was thwarted when already after a couple of delays, Frostbitten Kingdom read in a magazine of the sale of the label. With the new owners surprisingly not interested in releasing the album, a mystery such its majesty, and the loss of bassist and guitarist leaving the band as just H. Kanervo (vocals, guitars, keys) and S. Vainio (drums), things had stalled. Earlier this year though the band put The Winter War Symphony out as a promo, it swiftly earning acclaim and attention, including that of Wormholedeath who contacted Frostbitten Kingdom and struck a deal to digitally distribute the album worldwide. Long overdue but finally with the widest stretch of ears and imaginations available for persuasion, The Winter War Symphony is poised to stake its claim as one of the year’s triumphs.

Warfare & Wilderness begins the epic musical and lyrical narrative, its opening harmony of classical hues within orchestral elegance bewitching. Strings and keys transfix ears and thoughts, the melancholic air of the music as hauntingly emotive as it is gently portentous. Eventually its sorrowful beauty evolves into an equally melodic and tenacious roar but courted by stern riffs and sinister shadows, a tempest in waiting which breaks free when raw caustic vocals spark thumping rhythms and even heavier drama. Light and dark conflict and collude within the still mesmeric encounter, its climate darkening with every chord and melody yet still taking the listener on an invigorating and radiant flight.

The opener is a proposition which works away as forcibly on the imagination as ears, allowing thoughts to ignite their own adventure aligned to that of the band’s intent. The following muscular storm of The Battlefront is the same, though the blunt force and creative hostility of the track dictates the unveiling in song and mind predominantly. As in the first and subsequent songs, it is the varied sonic endeavours in the track which steals the passions most potently, numerous metal flavours stirring within the death bred confrontation igniting the unpredictable and fluid invention which fascinates and thrills across the whole of The Winter War Symphony. The visceral textures around the descriptive sonic and lyrical canvas only draws its recipient deeper into the dramatic heart of tale and release, a lure emulated by the glacial and threatening scenic tones of Sentinels of the Silent Tundra. Bestial elements prowl and intimidate from within the track’s barren yet engrossing bone-chilling climate. It is a harsh domain clouded with sublime melodies and an addictive sonic enterprise, leaving thoughts unsure whether to flee or embrace the soul freezing lands explored.

From the delicious opening hook of the outstanding Lost, Forgotten and Forlorn, ears and emotions are instantly enslaved so that even the subsequent cruel air and voraciously scarring diversity of vocals cannot defuse the appetite to immerse fully into the predacious and exhausting depths of the carnivorous squall. The track is quite scintillating, simultaneously savage and seductive as it ebbs and flows through an expansive and imposingly visual soundscape.

The album finishes within the gelid yet magnetic lures of Lucid Nightmares of Barbaric Brutality, the track a ferocious and barbarous examination of the senses and corrosive intent. Vocals and rhythms threaten whilst melodies and spicy grooves inflame from within the maelstrom of invention and hostility. There is no compromising with the song, or album come to that, but it does not need to with the scintillating craft and enticing imagination veining the challenging treat.

Now it has been uncaged, it is easy to expect The Winter War Symphony to push Frostbitten Kingdom to the fore of extreme metal. For such an impressive and rewarding onslaught they certainly deserve an intensive spotlight being shone their way.

The Winter War Symphony is available now via Wormholedeath through all good online stores.

https://www.facebook.com/FrostbittenKingdom

RingMaster 27/11/2014

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Lesch-Nyhan – Lesch-Nyhan Syndrome

LN

The first album since their return, Lesch-Nyhan Syndrome makes a ravenous and richly satisfying confrontation from US death metallers Lesch-Nyhan. The successor to the band’s 1991 demo Indistinguished Remains, the seven track savagery is a rewardingly imposing and thrillingly incessant beast of a proposition, a bestial encounter recalling the seeds and original toxicity of the Philadelphia quartet whilst equally holding an unhealthy dose of modern intrigue and fresh faced twists. It is not an album to blow extreme metal away but certainly a ravaging to make Lesch-Nyhan’s comeback a highly joyous and thrilling one.

Formed in 1989 by vocalist Gary Hadden with brothers, Mark (drums) and Anthony Delacandro (guitar), Lesch-Nyhan was soon completed by bassist Greg Oreski and guitarist Mike Carr. Quickly getting to play live shows with the likes of Suffacation, Incantation, Crucifier, and Ripping Corpse, the band released their demo in 1991 from which the band was invited to play a showcase in front of numerous label representatives. What followed though was the demise of the band; a slow falling apart which new members could not bring any halt to with the band stopping in 1994. Fast forward to 2012 and a discussion between Hadden and guitarist Rob Vanderveer (a member of the last line-up of the band), about reigniting things, to “Put our stamp on this shit”. A year later saw Lesch-Nyhan reform with a re-issue of Indistinguished Remains on Horror Pain Gore Death Productions, just as the new album. With guitarist Jack Carmichael, bassist Chris Miller, and drummer Mark Stainthorpe alongside Hadden, Lesch-Nyhan has produced a riveting scourge of sound and intent with Lesch-Nyhan Syndrome, a furious hostility sure to excite those with an appetite of bands such as Autopsy, Bolt Thrower, Carcass, Gorguts, Immolation, and Napalm Death.

Recorded live in the studio helping to bring the raw brute creative force of Lesch-Nyhan to life, the album opens with World Destruction, a track as expected from its title with all the hostility and rancor to bring all before it to its frontcoverknees. It also comes with a passions binding groove which from its first breath grinds and worms deeply into the psyche as rhythms cascade voraciously down on the senses. Complete with the barbarous rancor of Hadden’s throat and the nagging contempt of the bass, it is an irresistible blast of insidious feuding which ignites appetite and passions just as forcibly as the album itself.

Its stunning start is not quite matched by the following Septic Hole and Flock Of The Misfortunate, though it is more to do with its might than their failings. The first of the two again is offering a scathing infection soaked groove around with rhythms bring a barbaric unpredictability and guitars a sonic smog of contagious endeavour. Vocally Hadden lurches syllable after syllable across the senses, his delivery breeding a pestilential persuasion which is as sinister and merciless as the predacious sounds scarring his way. It is another masterful proposition if without bringing too many surprises, similarly as its successor. The album’s third track prowls with purposeful weight and predation, every riff and rhythmic provocation concentrated in its oppressive incitement which an emerging fiery but respectful groove cannot defuse. With the vocals at their most demonically intimidating and caustic, the track sends primal shivers down the spite but fails to find the same spark to ignite the passions as the opener and subsequent tracks hold.

Bathed In Phlegm returns the senses to a tempestuous torrent of frenetic riffs and rhythms bred from the darkest despair. It is a storm which has a rein on its hunger though, switching intensities of gait and ferocity for a filth clad waltz of insurgent sounds and rabid animosity which ebbs and flows in its voracity and ultimately success. To be fair though it is a proposal which ears and emotions welcome with open submissive arms, but one again only stirring up the passions rather than igniting them. The following Regurgitation Through Decapitation has little problem in seizing imagination and those passions, such its corrosive beauty and invention. Marking the moment where the album reveals it’s most potent and addictive nature, the song thunders against ears with a wall of barbaric rhythms and an intensively fused swarm of riffs. It is tsunami of spite and malignancy turned into a sonic vendetta in turn driven by a great dual squall of vocal spite from Hadden feverishly backed by Miller. The song stomps and rages with little regard for the health of its recipients, bass and drums crafting a frame of tortuous entrapment which any dungeon would be proud of whilst the guitars and vocals lay waste with an emotion violation of hellacious enterprise.

The glorious rhythmic coaxing which brings the title track into view is one of those instinctive baits there is no resistance to, an insatiable coaxing which only increases its toxic potency when aligned to the serpentine bred vocal cancer brought by Hadden. It is not long before the enthralling leviathan tones of the bass stalk air and guitars spread their caustic waves, the emerging blend of ferocious rapaciousness only reaching deeper into the psyche and greedy hunger inspired by the album. Roving with pack like relentlessness, the track is a predator of sound and bestial appetite, its grinding incitement and gutturally shared narrative an evil suasion to unrelentingly and sublimely excite the whole body.

Lesch-Nyhan Syndrome is brought to a powerful close by Internal War And Hate, a final purge of hope and security brought with an increasingly dangerous consumption of single minded grooves and scarring riffs within a network of bass rabidity and rhythmic enmity. It is an outstanding end to a thrilling encounter, not one as we said to turn extreme metal on its head but a release to easily place Lesch-Nyhan back in the heart and intensive spotlight of death metal.

Lesch-Nyhan Syndrome is available now via Horror Pain Gore Death Productions @ http://hpgd.bandcamp.com/album/lesch-nyhan-syndrome

https://www.facebook.com/LeschNyhanMetal

8.5/10

RingMaster 16/07/2014

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Fiends At Feast /Tragic Death – Purgatory Rites Split

frontcover

Purgatory Rites is a split release bringing together the distinctly different but similarly cast brew of blackened death metal of US metallers Fiends At Feast and Tragic Death. It is not a union or release for the faint hearted, its chilling textures and rapacious appetite permeating and imposing on senses and psyche with uncompromising ferocity. For all the vicious rabidity though there is also a rich vein of melodic expression and resourceful temperance to the Horror Pain Gore Death Productionsencounter which makes both sides of the proposition compelling provocateurs and something different from the norm which subsequently makes the release itself a formidable and riveting proposition.

Providing four pestilential tempests upon the release is Santa Cruz quintet Fiends At Feast, a band formed in 2008 by guitarists Sammer and David. Within weeks the line-up expanded with vocalist Loki and bassist Nathan Nunes, before after going through a couple of drummers, Marloc was added to the band in 2009. Debut EP Shadows Of Extinction two years later made an attention striking mark before first album Towards the Baphomet’s Throne of 2012 placed a keener spotlight upon the band. Merging sweat and blood with a tumultuous blend of black and death metal, Fiends At Feast take little time on the split to reinforce their reputation and stir up the imagination.

A spoken declaration opens up the vault to a torrent of destructive rhythms and scourging riffs all under the guttural malevolence of the gutturally rasping vocals. Four Winds of Destruction is a corrosive encounter straight away but one with bewitching melodic enterprise within the predation of the guitars which ensures predictability is scarcer than a comforting caress. Production wise it is a little hit and miss, the guitars surprisingly submerged within the welcome prowess and stalking of the bass and the demanding endeavour of the drums. It is not a major issue but does defuse some of their sharpness as they stand behind instead of alongside the vocal lead.

Through Immortal Gates is a similarly layered and malicious incitement though the alignment of each aspect is better in the overall assault of the track. Ravenous in its heart and rivetingly imaginative in its tenacity and adventurous landscape, the song makes for a gripping black hearted emprise, grooves and rhythms especially warrior like in pride and creative rabidity. It is a mouthwatering examination for thoughts and emotions to explore, an intimidating yet seductive playground for their running with the song’s narrative, something which is especially easy with the following instrumental Spectral Passageway. Soaked in emotive ambience and the stark breath of haunted pastures, the piece is a well for the imagination to paint with, the satanic breath of its companions keeping to the shadows as it casts beauty and poetic reflection. It also allows a breath to be swallowed before the serpentine and increasingly ferocious hunger of Into the Darkness envelops and immerses the listener in its noxious climate. Though not as impressive as certainly the previous pair of tracks it again reveals the potential of Fiends at Feast and their increasingly agreeable enslaving of the senses to complete a strong offering from a band easy to suggest to fans of the likes of Dissection, Immolation, and Watain.

     Tragic Death is a trio from Madison, Wisconsin which like its companion here shows little mercy in its consuming of ears and beyond with destructive mix of back and death extremes with a thrash bred voracity. Self-penned as Apocalyptic Metal, the band’s sound has earned the 2009 formed band, a potent reputation through their debut album Apocalyptic Metal of 2012 and live performances. Purgatory Rites finds the band at its most inventively creative yet, opening track Suffer the Salvation alone visually descriptive through its melodic conjuring and aurally incendiary with passion chaining grooves and sonic mesmerism. Compared to Fiends At Feast there is a deeper atmospheric essence permeating their similarly predatory and malevolent presence and whereas the Californian four piece goes for the jugular before asking questions more often than not, Tragic Death take a murderous scenic route which is soaked in provocative imagery and emotive elegance within a venomous landscape.

Their remaining tracks, Withering Youth and The Dissolution of the Clay Children continue the impressive showing of the band, helping them steal the show from their equally impressive counterparts. The first of the two flirts and savages simultaneously, the guitars of Steven M. blistering and seductive within the tempestuous journey whilst his vocal rasps, as the rhythmic challenge of drummer Cody S. and bassist Joe D., leave sore yet blissful residues which linger and intensify the weight and lure of the song. Its successor is an epic fall through merciless and brutal scenic malignancy but again with twists of melodic and atmospheric colour which enthrals from within the tortuous air and oppression, a crafting as within all songs with elements of bands such as Rotting Christ, Enslaved, and Deathspell Omega to its bait.

   The track brings the release to a powerful and dramatic end, and though not as gripping as the other pair of tracks from Tragic Death it reaffirms them as a band to keep a close attentive eye upon, just as to be fair Fiends At Feast achieve with their contributions also. The Purgatory Rites Split is a worthy investigation for blackened death metal fans and extreme metal adventurers everywhere and another potent step in the emergence of both bands.

Purgatory Rites Split is available now via Horror Pain Gore Death Productions @ hpgd.bandcamp.com/album/purgatory-rites-split-cd

https://www.facebook.com/FiendsAtFeastBand

https://www.facebook.com/218tragicdeath

8/10

RingMaster 17/06/2014

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Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

www.facebook.com/pages/Acheron/128581467223407

9/10

RingMaster 26/02/2014

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Hybreed Chaos – Dying Dogma

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    Dying Dogma is far from being an easy listen or is the kind of company which rewards a casual attitude attention wise, towards its fury but for violent, uncompromising technically bred progressive death metal it is a confrontation which once struck down by, is a scar which deeply lingers whilst inciting strong reactions. The album comes from Canadian metallers Hybreed Chaos, a band featuring ex-Paroxysm drummer Franck Camus and current Cryptopsy session bassist Olivier Pinard. It is a release which has little time on seduction, its every breath and action a vicious rage of sonic imagination and brutal enterprise, and provides little comfort in its touch or exploits, just savage intensity and intentions aligned to a craft and endeavour which ignites the imagination.

The PRC Music released Dying Dogma moves through its brief intro, Birth of Chaos, into the instantly ferocious and debilitating A Machine for Pigs. From its start the vocals and guitars need little persuasion in scoring and threatening the senses, the guttural squalls a vindictive causticity with equal poison in the twisting and intriguing guitar exploration. Around this the rhythmic framework has an intimidation and eagerness which can snap at any moment, whilst grooves and hooks add their unique insidious temptation throughout the tempestuous fury to lure in the emotions to greater depths, their poise and fascination waking further an appetite for the challenge ahead.

Dismembered Purity crawls through the ear and all over the senses, its doomy presence a canvas for the crippling inventive rhythmic battering and the corrosive riffing to add their ruinous nature to. There is arguably not the fluidity to the song of its predecessor, some of the certainly enthralling elements lying uneasy within the soiling intent, but equally the jagged mix of ideas, though making the encounter less persuasive at first, creates a carnal torment which grows into a strong convincing of the imagination across numerous violations.

The following Emperor also takes a relatively slow consumptive meandering of the senses and psyche, its smouldering toxicity expressing a transfixing furnace of inventive manipulation and technical maliciousness which tests and provokes the listener into eager if distressed attention. Its successor Defiled Servitude is much the same, it’s even more bedlamic ingenuity and torrent of ideas a gripping yet nasty compromise for the passions and imagination. Repetition, a tempting drone, and sonic psychosis all litter the experiment on the psyche whilst its riffery and rhythmic frame enslave a now greedy appetite for the assault of the album.

Dying Dogma is completed by Charogne and Silent Agony, both two more mountainous and monstrous sonically esurient savages built on technical invention and warped imagination. The first of the pair offers the album’s most contagious and almost addictively straight forward moment yet, though it still explores a depth of ideation which is just spellbinding. The closing song matches this to leave the album at its strongest point, the track a devil bred slab of creative vehemence that works on every aspect of the senses and emotions. A release for those with a taste for the likes of Gorguts, Cryptopsy, Immolation, and Devourment, Dying Dogma is an album which makes you work and work hard before revealing its full might but makes it all worthwhile in the long run. If an easy metal driven life is for you than Hybreed Chaos certainly is not.

https://www.facebook.com/HybreedChaos

8/10

RingMaster 29/10/2013

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Lacerated And Carbonized – The Core of Disruption

PromoCore

Claiming that The Core of Disruption, the latest album from Brazilian brutal death metallers Lacerated And Carbonized, is offering anything openly new and ground breaking might be a hard sell but for uncompromising, refreshing, and imaginatively passionate thrilling metal it is an easy persuasion, especially when the release rampages so contagiously and skilfully through the ear. Receiving its re-release through Mulligore Production in North America and worldwide on line, it is a masterful and exhilarating rampage of ravenous and captivating aural hostility, and one album all metalheads should make an  engagement with.

Hailing from Rio de Janeiro, the quartet of vocalist Jonathan Cruz, guitarist Caio Mendonça, bassist Paulo Doc, and drummer Victor Mendonça formed in 2006. Their debut album Homicidal Rapture received strong reception and critical acclaim at home upon release in 2011 whilst opening up attention much further afield. The band followed up its success with a successful South-American tour which took in Chile, Ecuador, Colombia, Bolivia and Peru, and many festival appearances in Brazil which led the band to share stages with the likes of Sepultura, Mayhem, Belphegor and Immolation. 2012 was an even more impressive and major year for Lacerated And Carbonized, an extensive European tour alongside Vile and numerous festivals again propelling the band name in the awareness of the world. With the added attraction of guest appearances of Felipe Chehuan and Max Moraes from Confronto, Eregion of Unearthly, and Guilherme Sevens out of Painside, helping to light up the release, The Core of Disruption is the key to greater things on both sides of the big pond and elsewhere such its might and metallic prowess.

The album explodes from the blocks with L.A.C., a track that bombards the ear with crippling rhythms and discourteous riffs ridden by 166788_497922280243830_2081622728_nthe guttural malevolence of Cruz. It is a ferocious introduction to the album, the guitar of Caio as abrasive and confrontational as it is melodically tempting whilst the storming assault of Doc and especially Victor irrepressible and brutal. A towering provocation to not only awaken the senses but badger them into submission it is eagerly followed by Third World Slavery; another avalanche of drum abuse and vicious riffing that bruises, wounds, and ignites the passions. As emerges in most songs there is an underlying groove and array of sinew clad hooks that simply dig deep into the appetite whilst Victor just commands and drives each song with one of the best drum displays to be heard this year. Assisted by the equally impressive guitar skill and invention of Caio it makes for a riveting experience and pleasure.

The predacious Awake The Thirst with its exhausting rabidity to energy and intent continues the excellent start whilst its successor O Ódio e o Caos raises the temperature with a more purposeful yet no less rapacious weave of sonic narrative and melodic enterprise accompanied by a wider range of great and welcome vocal delivery. Totally immersed in their intensive tempest of malevolence and accomplished craft, the band rises to a new stature with the outstanding Unnatural Aggression, a carnivorous fury of again destructive rhythmic sculpting and passion dripping vocal animosity speared by delicious guitar design, and the smouldering beauty of The Candelária Massacre, a song merging melodic elegance and native mystique with voracious intensity and as now expected electric drumming.

Through the barbarous BloodDawn, another major highlight of the album with its twisting and impatiently hungry imagination, and the bordering on schizophrenic Call For Blood things just get stronger and epidemically addictive, band and record exploring new discovered heights whilst Final Enclosure confirms the elevation with another brawl of uncivil but dexterous artistry.

The stunning and beautiful brief instrumental Corrupt Foundations leads into closing song System Torn Apart, a final tsunami of annihilatory rhythms, sonic blazes, and infernal riffing led to the psyche by the fine ruinous vocals of Cruz. It is a terrific end to an immense slab of esurient metal, and for many one suspects the start of an incorruptible friendship. A big step in their ascent you can only see Lacerated and Carbonized moving on to rise to major player contender in the future.

https://www.facebook.com/pages/Lacerated-And-Carbonized/169403519762376

9/10

RingMaster 13/08/2013

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