Sawthis – Youniverse


Tagged as modern thrashers and sounding like the exhilarating offspring of Static X meets Bloodsimple, Italian band Sawthis unleash one of the year’s highlights in the corrosive riveting storm of Youniverse. An unrelenting and breath-taking tempest of sonic intensity and exhausting predation, the eleven track release simply leaves the senses and passions raging for its predation.  Not arguably ground-breaking but thoroughly refreshing and explosively incendiary, this is one album that all thrash fans should add to their personal playlists.

Formed in 2000, the Teramo hailing quintet bred their sound on the inspirations of the likes of Soilwork, Machine Head, Slipknot, Metallica, Testament, and Pantera. Debut album Fusion emerged in 2003 receiving very positive responses from media and fans. This was followed by an extensive time of shows which saw the band alongside the likes of Destruction, Anathema, Sybreed, Impaled Nazarene, Extrema, Sadist, Necrodeath, and Assassin. Their live performances consistently added to the stature of and acclaim upon the band; further appearances with Lacuna Coil, Entombed, Shaman, and Konkhr to name a few only cementing their reputation. Second album Egod appeared in 2009 via Scarlet Records, again to strong reception and followed by more intensive gigs and tours, this time with bands such as The Haunted, Primal Fear, Bulldozer, Cattle Decapitation, God Dethroned, and Sepultura last year. Released through Bakerteam Records, Youniverse is the next step to world awareness and domination, its aim you suspect destined to success.

A conceptual album focused on the theme of multiple personality disorder, Youniverse immediately tests thoughts and synapses with SAWTHIS_YOUNIVERSE_COPERTINA HDThe Logical Color. Rhythms splinter bone from the opening second with deep drilling riffs a muscular companion. It is an attention gripping entrance which only explodes to greater heights as the two protagonists extend their rabidity to further heights and the vocals of Alessandro Falà scorch the air with his vocal squalling, every syllable intense and malevolently sculpted but forcibly engaging like the sounds around him. Ensuring escape is futile the song relaxes into a tantalising embrace, the guitars of Adriano Quaranta and Janos Murri gnawing the senses whilst offering new mystique to the blistering encounter whilst the vocals also offer a more respectful and mellow if still an intimidating and commanding lilt. The track is a scintillating introduction, varied and adventurous but deliciously predatory from start to finish.

The following fury of The Waking Up is equally rapacious and magnetic, the beats of Michele Melchiorre building an irrepressible trap whilst his vocals slip perfectly and potently alongside those of Falà, their at times dual attack an exceptional driving force for the riveting inventive sounds. The bass of Gaetano Ettorre also creates a sinew clad prowl which menaces and tempts like a stalking beast within the torrent of intensity and energy surrounding its intent. It is another towering song continuing the immense start and soon matched by both The Voice Falls On Me and The Disturbed. The first has an insidious breath and air certainly around the vocals but tempers it with a melodic fire reminding of In Flames whilst its successor which features Rob Cavestany from Death Angel, simultaneously sears and smoulders within the ear whilst weaving melodic and vocal temptation that leaves the passions alight and guitar enterprise which spawns burning tendrils of sonic enterprise to seduce without mercy.

Through all the tracks the album deepens its hook within the emotions breeding a hunger which dares Youniverse to fail their need. No such realisation is forthcoming as the likes of The Indelible, a track which swings seamlessly from carnivorous intensity to seductive melodic flaming, The Impure Soul with its creeping twisting sonic vines of excellence within a ferocious yet carefully trained consumption, and The Spotlight only increase the dramatic strength and torrential imaginative lure of the release. The last of the three finds an extra growl and rawer presence to its caustic provocation, though melodic and harmonic exploration is only a deep breath away and soon merging into the turmoil with enchanting toxicity.

Before departing the album ensures the listener is left a wasted blissful wreck through the corrosively contagious tempest that is The Mad and the hellacious beauty of The Switch, both tracks stretching the passions and boundaries of the album further. Earlier we said that there was debatably nothing unique about Youniverse which was true except that as tracks like this and the closer, The Walking exploit the rapture seeded, it is hard to remember many others stalking the same routes as Sawthis. The final song is no slouch in whipping up the senses and satisfaction either, its rampaging stomp another blaze of sonic venom and melodic adventure wrapped in creative savagery.

Produced by Paolo Ojetti (Infernal Poetry) with the band, Youniverse is a massive war of pleasure and enthrallment, a release which takes Sawthis to the upper echelons of new metal, and without doubt another album to add to the growing pool of serious contenders for album of the year.


RingMaster 30/09/2013

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Necromessiah – The Last Hope Of Humanity


Smothering the senses in the caustic excrement of hostility and a ravenous malevolence of blasphemy, The Last Hope Of Humanity the new album from Italian extreme metallers Necromessiah is a ferocious and fearsome confrontation which you only want to devour. It is a violation which emerges as a thoroughly compelling and exhilarating antagonist leaving exhaustion and satisfaction as its lingering toxicity. Raw and uncompromising, and at times a victim to similarity across its malicious venture, the album is a raging torrent of blackened thrash/heavy metal which ultimately only seduces the emotions and thoughts, if in a harsh, destructive, bordering bedlamic way.

Formed in 2002 the band has unleashed their self-acclaimed ‘Heavy-Powered Death & Roll’ in the venomous forms of releases such as first demo In nomine deus quad ecclesias igne absumor, their debut album Instar Gladii in corporem Christ… of 2004, its successor Antiklerical Terroristik Death Squad of 2007, and a split 7″ EP called The Oath Of Bacco Militia with Dewarsteiner. Tours and shows across the UK and Italy have also earned the band a strong reputation which the 2010 released EP Get Ready and the Unleash Disorder EP of last year has cemented further. Signing with Punishment 18 Records for the release of The Last Hope Of Humanity, the trio of vocalist/guitarist NecroManiac, bassist SGT Baal, and drummer Darken are poised to take a leap up the recognition ladder. It is not an album one suspects to break them into the biggest spotlight but one certainly to ignite a new legion of ravenous followers to their malignant creativity.

From the forty five second maelstrom of sonic bestiality and pit borne hellishness that is Opening the Gates the album explodes into NecromessiahCoverview with Returned from Hell, sulphur fumes spiralling off of its grooves within an aggressive cage of rhythmic spite. The vocals are equally as noxious in their guttural squalling and demonically coated appetite, and though they initially take time to acclimatise to are the bearers of the blackest serpentine shadows and depths alongside a thrash seeded fury which is more compelling than fearsome but thoroughly riveting.

Next up Bio Terror Beast snarls with bass rabidity from the very start before the guitars and drums stomp all over the senses with premeditated savagery and organic virulence, their bait breeding a tighter grip on attention and hunger than its predecessor sparked. The merciless clawing of riffs and the rhythmic barrage give no peace or mercy to the listener whilst the sonic invention of the guitar which explores the ear is a flailing lure which only accelerates the contagion of the song. There is a swagger and groove to the track which equally steers its temptation, a lure that is equally apparent in different infectious guises on other tracks such as the following Pedo Priest, the track a caustic thrash steeled predation which scars and bruises whilst simultaneously chewing rabidly upon the senses. As mentioned without close attention there is a general similar scourge across the songs, this track an open example but beneath there is an insidious invention working away to almost secretively enslave the imagination and appetite of its recipient.

The likes of the vigorously envenomed Dead or Alive and the sonically baneful pestilence that is Kill the Pope taunt and ravage the senses with brutality and injurious adventure to continue the strong presence of the album but they and all before are soon left in the shadow of the two biggest pinnacles of the album. Arm Your Machine Gun is a malignant contagious march on the senses with a hoard like attack of riffs and rhythmic punctuation to rival its animosity and enterprising barbarity. Vocals and guitars combine to form a sadistic frontal attack which leads to greater hunger and pleasure as they prepare the bloodied ground for the appearance of the brilliant Don’t Touch My Glass.  A more intensive barbarous growl and sanguinity coats the guitars from its first breath, whilst an already strongly hinted Motorhead essence has a louder wind to its sail across the hostile truculence to ignite real ardour.

Unleash Disorder stands toe to toe with the previous pair providing the album with a more potent and towering second half to its still impressive first, the song another unbridled tempestuous assault of air sucking, bone shuddering rhythmic craft and sonic pugnacity. The brief gladiatorial instrumental Blood Boiler makes a tasty lead into final song Goat’ N’ Roll where all the sonic whores and muscular rhythmic violations swarm and pour from Hell into a discordant yet greedily flavoursome quarrel of an encounter. It makes the an outstanding mountainous close to an equally heady ride of thrash driven, black coated, metal veined heavy rock ‘n’ roll.

With the wares to appeal to fans of Motorhead, Venom, Sodom, and Impaled Nazarene, but truthfully all extreme metal and thrash fans, the album is the next major step in what looks like a certain elevation in stature for Necromessiah. It bites, it destroys, but The Last Hope Of Humanity is an intrusion hard to resist.


RingMaster 24/09/2013


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Death Mechanism – Twenty-First Century

Death Mechanism. Photo by Alex Solca

Fancy some thrash metal with the psychotic intensity of a serial killer and the scathing abrasion of a sand storm then Twenty-First Century from Italian metallers Death Mechanism is a must. Band and album just run amok through the ear with riffs flailing senses like a cat o nine tails, their touch lethal and lingering whilst the rhythmic accompaniment is a predacious stalk of already wounded aspects of the listener. Instantly magnetic and ultimately irresistible, the Scarlet Records released album provides a refreshing and insidious confrontation of pure thrash brought with a new and invigorating flair.

It is not quite flawless, a similarity across tracks at times a slight issue but in Twenty-First Century, the Verona trio which was founded in 2003 by vocalist/guitarist Pozza (bassist from Bulldozer) have unleashed one of the most niggling, impressive metallic irritants this year. Completed by drummer Manu (also from Bulldozer) and bassist Pedro, the trio drew strong attention and acclaim with debut album Human Error Global Terror of 2006 which also made up major part of Mass Slavery, an album released on Jolly Roger Records in 2010. This was enhanced further by their live performances which have seen the band alongside the likes of Bulldozer, Sadus, Sodom, Destruction, Tankard, Impaled Nazarene and more. Their sound is entrenched in eighties thrash, the new release often sparking thoughts of Slayer and Kreator to name two, but equally it has an individuality and modern spite, especially lyrically and through the rasping reptilian vocals of Pozza which sets it apart from most others. Produced by Tommy Vetterli (Coroner/69 Chambers), the album is a thrilling and lingering predator, an agitator of the passions which grips tighter with each assault.

From an industrial apocalyptic feeling intro opener Monitored Procreation is instantly gnawing on the senses with riffing as vibrantly cover DEATH MECHANISMeffective and worrisome as a swarm of hornets, and as persistently aggravating in its contagiously compelling sound. Escorted vigorously by rapacious rhythms and further on the caustic scowling of Pozza, a delivery which probably not all will take to, the track violates every surface of the ear and beyond, it’s sonic temptation twisting across the disjointed gait of the song and around the vocals, their presence screeching vitriol from every syllable. The rabidity of the track driven by the bestial bass stalking of Pedro and the insatiable rhythm conquering of Manu  leaves no second free from malevolent manipulation and aggression. It is nasty and potent but most of all simply a great start, but also only the appetiser to the next track and an album which gets stronger and more excruciatingly addictive the further it goes into its synapse chewing heart.

The following Earthly Immortality is cut from the same vicious cloth with a presence maybe too similar to its predecessor to raise any further temperature, but again those stinging waspish grooves and riffs just secure full compliance to its breakneck gaited attack so no complaints there. Things do take an elevation with firstly Human Limits next and then Evolutive Deviation, both tracks offering another turn of the sonic and imaginative screw. The first creates a sonic lasso of riffs stroke grooves and a cage of bone splintering punches from Manu, all prowled by the excellent black hearted tones of the bass. Its successor is equally as fanatical in its intent, and again close in content, maybe too near, but with scorching flames from the guitar adding extra acid it still holds fascination enslaved.

The pinnacle of the album starts with Tipping In Front; the song is an unslakable pursuit of the senses, its riff and drum combination an incessant torrent of enterprising voraciousness. With an epidemically tempting lure to the underlying groove and a more open melodic toxicity the track is a glorious slice of edacious irresistibility. The rampaging Obsolete Cults does its best to keep the new level of triumph going with relative success but top honours on the album are further contested by firstly the excellent and creatively devouring  that is Hidden Legacy and then the tempestuous stomping of Exotropy, the outstanding pair split by the easily appetising Century Of Lies.

Completed by the ferociously tortuous Collapse 2000 A.D. which features Vetterli on guitar solo, Twenty-First Century is a real treat to consume and regularly. No it is not the most original thrash album this year or avoids slightly suffering with resemblant tracks but when that core sound and creativity is as scintillating and untamed as conjured by Death Mechanism you cannot help but be very greedy for more.


RingMaster 01/08/2013

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Satan’s Wrath – Galloping Blasphemy

With a bio for the album proudly declaring that Greek band Satan’s Wrath were to unleash ‘relentless blasphemy, unholy sacraments of evil made by dwellers of the twilight, horrors that will make priests vomit in agony, abominations that the prophecies of old kept hidden’ and that the duo ’is the only band in the world in communication with thy master through ceremonial black magic and necromantic rituals’, not forgetting that ‘One member alone controls 13 satanic covens worldwide and organizes the most hideous sabbaths which our lord graces in the form of the black goat’, it would have been so easy to quickly move on in the expectation that all the vivid declarations was masking a weakness in the actual important part about them, the music. Luckily and very satisfyingly it is not the case, the new album Galloping Blasphemy being a ferocious blend of aural artistry and sonic imagination. Ok it is not the bestial violation it wants to be, the ultimate blasphemous outrage to decimate and destroy senses, but it is a thoroughly compelling release which over shadows the, to be honest the underwhelming and predictable attempt at being your worst nightmare.

Consisting of Tas Danazoglou (vocals, drums, bass) and Stamos K (guitars), Satan’s Wrath has produced an album which is impressive and captivating, its fresh blend of black, classic, and thrash metal with plenty of progressive essences an absorbing concoction. Black metal cored, the band remind of the likes of Impaled Nazarene, Burzum, and a little bit Slayer, though it is just part of the picture and ear catching triumphs the pair brew. The album is not flawless nor arguably openly original in its intent or sound but nevertheless captivates from start to finish with ease, with enterprise, and with unmistakable invention.

A predatory consumption of menace opens up first track Leonard Rising – Night of the Whip, the initial toxic atmosphere venomous and scarring. It is not long before the guitars are winding tightly around the senses, their acidic touch scything deeply. The sacrificial element of the song evolves into a full orgy of heated grooves, sharp air rupturing melodic invention, and guttural unforgiving vocals, the combination an ever shifting and hungry and evil magnetic companion.

Between Belial and Satan and One Thousand Goats in Sodom both bruise and ignite the senses equally, the first with its insurgent thrash rampage and arrogant malevolence and the second with an astringent weave of cutting sonics and raw melodics within a caustic energy. The musicianship on show here and throughout the album is impressive, the guitar play Stamos of alone more than worthy of a close attentive listen to the release.

Hail Tritone, Hail Lucifer, the stunning and masterful instrumental title track, and the insatiable hardcore spiced Death To Life, further let loose artistry and imagination to eagerly feast upon, whilst the corruption that is Slaves of the Inverted Cross just opens the door to further passions. The songs which make up Galloping Blasphemy from a distance are strong and easily digestible slabs of metal but it is when one delves deeper, immerses themselves in the heart of the tracks, that the real quality of the songwriting and skilled musicianship is evident. That makes for an album possibly needing more focus and work than others but it certainly gives much more back in return.

    Satan’s Wrath, the song, closes up what is a engaging and creative album in Galloping Blasphemy, a release which all black metal and extreme melodic metal fans would be making a mistake with if they did not give it definite and prolonged attention. The band may leave one unimpressed with their ‘back’ story but easily achieve the opposite with their release.

RingMaster 25/09/2012

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