Dominhate – Emissaries of Morning

Dominhate_RingMasterReview

According to their new EP’s press release, “Dominhate present the new face of death metal – contemporary without losing the ancient morbid touch, forward-thinking while paying tribute to the pillars of the genre.” It is a statement easy to debate and argue for and against whilst listening to Emissaries of Morning; what is straightforward though, is that the encounter and indeed the Italian death metaller’s sound simply stalks the senses and emotions every step of its invasive way.

The successor to their well-received debut album Towards The Light which was uncaged in 2014 via The Spew Records, Emissaries of Morning certainly pushes the band’s already established pestilential death metal encroachment to new voracious and compelling heights.  Whether its uniqueness is as strong as suggested can be discussed but there is no denying that escape from its punishing assault is futile and subsequent captivation from that same trespass is easy.

Released via the critically acclaimed Czech Republic based label, Lavadome Productions, Emissaries of Morning sonically infests ears and imagination with intro/opener Saturn Rising. It is a harshly celestial and fiercely provocative confrontation of senses wilting sound which lures the listener into the waiting predatory jaws of Awakening Confessiones. Straight away drama spills from scything riffs and beats, intensifying as the sounds breeding it create their own increasingly invasive and ravenous animus of spite. The guitars of Alex and Jesus proceed to spin a web of thickening intrigue and caustic enterprise, grooves as tantalising as the bracing tirade of riffs. Their addictive imagination is tempered yet driven by the barbarous intent of Slippy’s beats and bestial basslines from Steve in collusion with his prowling vocal growls. The track simply grips ears and appetite with moments of almost jazz noir imagination highlighting the great adventurous twists in the song’s storm.

Dominhate-EmissariesofMorning_RingMasterReviewFaith Delirius Imago continues the impressive start with its deceptively and openly primal yet skilfully woven tapestry of rancor and sonic infestation. Rhythms again swipe like the claw of a bear whilst grooves infiltrate ears and psyche like a serpentine predator, yet both show an addictive character with their contagious and swinging viciousness which alone incite and feed hungry ears becoming even greedier for the subsequent twists and turns of sound and intensity that writhe within the tempest.

Led by a greedily welcomed nagging tide of riffs, Immolation Carmen Astri binds and invades like sonic ivy, though thundering rather than creeping into the darkest places of mind and emotion whilst sharing its own in blistering and carnivorous fashion. Soon emerging as favourite track, it is a cauldron of venom and furnace of addictiveness; death metal as fresh as it is old school bred.

The EP closes with the warlike predation of Creation Quies Monumenti, another protagonist prowling and crawling through ears and thoughts like a demonic barbarian with all the craft and knowledge to entice submission rather than demand it. It is a gripping end to a release which just gets stronger and more enjoyably threatening with every listen. Sound wise, the likes of Incantation, early Morbid Angel, and Lvcifyre come to mind, and again you can debate its uniqueness but when it sounds this good and devours so enjoyably, it is easy not to care.

The Emissaries of Morning EP is released 22nd April via Lavadome Productions @ https://lavadome.bandcamp.com/album/emissaries-of-morning

https://www.facebook.com/Dominhate

Pete RingMaster 22/04/2016

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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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Dominhate – Towards The Light

Dominhate-Band

Born from the ashes of Italian thrash death metallers Esequie, Dominhate certainly make a convincing and impressive call their way with debut album Towards The Light. Formed in 2008 the members of Dominhate evolved from the sound cast their former band into a more death metal focused onslaught on ears and senses as new members joined the emerging force in the Italian underground scene. Breeding their own distinct if not yet wholly unique sound with inspirations from the likes of Morbid Angel and Incantation, the Pordenone hailing quartet have put down a strong marker with their first full-length. Released on The Spew Records, a division of Punishment 18 Records, it is not a startling encounter but one which pleases, lingers, and awakens a strong attentive interest in the band.

The title track provides an atmospheric entrance to the release, the album seemingly yawning as it wakes within a sonic haziness and intimidating ambience. It is fully alert and sizing up senses once The Light of the Last Legion spreads its inviting grooves and imposing rhythmic bait across the imagination. Soon into a muscular and intensive provocation, the song creatively stumbles through ears. The rhythmic attack is unpredictable and furious, corrosively matched by riffs and guttural vocal squalls as the track continues to intensify its weight and oppressive textures. An early representation of the album, the opener is not a dramatically striking provocation but undeniably one veined by skilled enterprise and creative intrigue for a richly enjoyable encounter.

Its potent offering is surpassed by the virulent animosity of In the Principle the Great Sleep. Riffs and grooves again align to create a contagious web punctuated by the feverish hostility and craft of the drums, they in turn skirted by a DominhateCoverthroaty bass predation. With the vocals shedding predacious intent and malevolence, the track is a voracious savaging of old school death metal with modern attitude and imagination. Its gripping presence is surpassed by The New Wave of Domination, a track developing an infectious violent swing to its persuasion once it has driven through a tempestuous ravaging of sonic hostility and rhythmic provocation. Like its predecessor the fury is as unrelenting in its ruinous attitude as it is in its inventive swagger, feasting on ears with insidious ferocity and corruptive relish.

Both The First Seed and The Essence of the Choice provide new scenery to the album, the first of the two spreading a sinister and slowly invasive atmosphere over ears and thoughts whilst guitars spin an evocative web of dark intent as restrained but firm rhythms punctuate the sonic narrative. It is a gripping landscape for the imagination to feed upon, the darkening and increasingly rugged terrain of the song only sparking a greater compelling lure to immerse the senses. Its successor explores a lighter adventure, compared to its predecessor, yet still energetically and feverishly soaking ears in blackened revelry and erosive death metal tenacity. The track is a torrential ravishing, arguably low on surprises but high on thrilling and skilful incitement.

Through Perception and Obscure the Call of Salvation, band and album continue to batter the barricades with accomplished craft and enthralling enterprise. The first is a steady but forceful stroll driven by fervour drenched riffs and anti-social beats. Clad in addictively winding sonic endeavour it makes way for the thicker pestilence of brutality and vocal rapacity from the second of the two. Both tracks fuel an already contented appetite over the album, if without reaching heights forged by earlier songs, though that is soon re-established by the ruinous might of King without Crown, a gripping tirade of waspish grooves and crippling rhythms under the demonic thrall of the vocals. It is an outstanding violation which alone makes Dominhate a band worth searching out.

Towards the Light closes with Redemption of One, an engrossing surrounding of the senses with antagonistic design to its raw and ravenous presence. Again intrigue and thought provoking invention spreads infectious toxins across the constantly growing and persuasive might of the track, another sizeable triumph the reward.

It is probably fair to say that Towards the Light does not offer any real surprises but equally it definitely does not give house room to predictability. The album is a richly pleasing and exciting encounter drenched in a potential which suggests that Dominhate is an emerging force of the future and a satisfying pleasure of the now.

Towards the Light is available now via The Spew Records @ http://dominhate.bandcamp.com/releases

https://www.facebook.com/Dominhate

RingMaster 23/09/2014

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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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Karnak – The Cult Of Death

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Uncompromising and ravenous, the new mini-album from Italian death metallers Karnak is a furious consumption of the senses but equally a deceptively rewarding one which with bravery and strong will before its ferocity provides a compelling and invigorating examination of senses and thoughts. Made up by five predatory tracks, The Cult Of Death is an annihilatory turbulence through the ear which consists of four new songs linked to a concept inspired by Aleister Crowley, as well as a cover of a Celtic Frost track.  With savage essences which put you in mind of the likes of Incantation, Pestilence, Nile, Morbid Angel, and Suffocation, the release is a potent and dramatic gnawing of the synapses marking the Monfalcone hailing quartet as a persistently formidable proposition.

Formed in 1993 by drummer Stefano Rumich, the band released numerous demos before making a strong impression away from their local area with debut album Perverted, the first release under the name Karnak. This was successfully followed by Melodies Of Sperm Composed, an album which saw the band evolve from their initial pure grind/death metal stance exploring elements of jazz, samples and more to add flavour and colour to the still destructive tempest of sound. Third album Tutti I Colori Del Buio was released in 2002 before the band went on a break provoked by line-up changes. 2009 saw their return and the signing with Casket Records with the release of fourth album Dismemberment coming the following year. A tour supporting Krisiun and Kataklysm pushed the band out further in 2011, though by now having supported the likes of Impaled Nazarene, Suffocation, Nile, Decapitated, Avulsed, Necrodeath, Pyogenesis, Destruction, Fleshgod Apocalypse and more over the years, Karnak was no longer a hidden secret. Last year the band supported Malevolent Creation, Krisiun, and Vital Remains on another European tour followed by another with Deicide. Currently working on their next album, the line-up of vocalist/guitarist Francesco Ponga, bassist/vocalist Lorenzo Orsini, guitarist/vocalist Marco Polo, and Stefano Rumich raise real anticipation and hunger for said release with The Cult Of Death, its bestial creative assault wholly persuasive.

The opening Intro just lays out a simple rhythmic beckoning but its temptation is irresistible and almost tribal as it evolves into The cover_karnak_thecultofdeathConstruction Of The Pyramid (The Demon’s Breath) who replays its offering before opening the gate to an intensive exhausting technically honed riff driven blaze which scorches the senses with the brewing animosity of the song and its breath is not far behind in carnivorous intent. With vocals roaring like the oldest colossal predator imaginable, the track lurches at the senses with insatiable energy aligned to a more restrained but unreserved sonic and rhythmic stalking. Furies of technical and acidically melodic guitar do initially wrong foot emotions after their submission to the easy to devour onslaught, but soon persuade craft and evocative hues.

It is an impressive start repeated and then surpassed by The Construction Of The Pyramid Beta (Invocation), the Meshuggah like web laid down around the passions at the start over run by the torrential thick sonic mass of intensity and suffocating ambience. Doom oppressive and sludge lumbering, the shift bleeds the air of light and oxygen but equally ignites thoughts with shards of melodic light and colour before the nightmarish soundscape with its heaviness and rabid vocals seems to claw like a swarm of patient demons at the psyche. As with the release it is not at times the easiest or most comfortable listen on first impressions but beneath the barbarous surface and many deeper levels there is a magnetic and superbly crafted well of invention and skilled temptation.

The nagging chugging which leads the song to a dissipating climax is immediately thrown aside by the sadistic entrance of The Construction Of The Pyramid Gamma, a start which is only built upon and intensified the further the track chews at the ear with the drum attack of Rumich unrelentingly and impossibly thrilling. Also unafraid to bring a potent melodic and sonic adventure to the striking narrative of the release, the track is a frequently changing and provoking treat concluding and summing up the new songs and strength of the album perfectly.

Completed by the cover of Celtic Frost song Jewel Throne, the release is an enthralling malevolent engagement. The final track is more than decent but as accomplished as it is it is not a match for the previous trio of songs. Quite simply The Cult Of Death really gets the appetite aflame for Karnak’s forthcoming album whilst making a thoroughly satisfying meal right now.

http://www.karnakdeath.com/

9/10

RingMaster 02/08/2013

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Imprecation – Satanae Tenebris Infinita

Impre10InchBackCR

Twenty plus years after forming, Texas death metallers Imprecation finally release their debut full-length album, a brutal and predatory leviathan of an album. Cited as one of the more influential inspirations of numerous death metal bands today, Imprecation released a couple of acclaimed demos and an EP in the early nineties which was followed by a compilation of material in 1995 titled Theurgia Goetia Summa on Repulse Records. After this period the band went on a hiatus until returning in 2009 to continue the blackened ravaging they first unleashed two decades ago. Now Satanae Tenebris Infinita comes forth as an imposing and impressive assault on the passions.

Founded by Ruben Elizondo and guitarist Phil Westmoreland, the band has been through many line-ups in both parts of their existence, with the latest of Elizondo (drums, keyboards), Dave Herrera (vocals), Danny Hiller (guitar), Milton Luna (guitar), and David Ramirez (bass) making an intense and powerful declaration on the new album. Released via Dark Descent Records, Satanae Tenebris Infinita has its heart and intent solidly in the origins of the genre and carries on in many ways where the first era of the band left off. It is a natural evolution from those first years, a natural continuation and a release which brings a wealth of satisfaction with its blend of rapacious crawling shadows and climatic thrusts of hungry energy and invention. There are little surprises on the album but then again Imprecation only expands upon and involves the crucial and potent essences of previous confrontations. Wrapped in the cover art of Chris Moyen, it is a release sure to find real appetite in fans of the purest origins of death metal.

Blood Dominion savages the ear from its opening seconds, riffs chewing with intent and drums barracking the ear with impre 2013unbridled urgency. It is merely the softening up though as the track shifts up a few gears and unleashes a tsunami of ravenous riffs spurned on by a malevolent groove and destructive rhythms. With keys seducing within the now slightly restrained confrontation a compelling variation marks the continual and pleasing diversity to the stance of the song, intrigue is lit and though it is fair to say things are not exactly ground breaking predictability has no whisper within the tempest.

The following From Beyond the Fiery Temples and Hosanna Ex Inferis back up the strong start with their individual satanic appeals, the first a lumbering rapacious bestial encounter which paces around and eyes up its victim before developing an appealing canter to its riveting temptation and the second through its doom laded atmospheric crawling over senses and thoughts. Thoughts of bands like Incantation and Entombed rear their heads as the tracks provoke and incite emotions and shadows with their distinct and oppressive breaths and ambiences which emphasises the fact the album is coaxing creativity from well-worn seeds whilst breeding strong pleasure and dawning passion for its accomplished body.

The contagious swagger of Angel of Salvation’s Doom makes for a major highlight on the release, the track a blaze of rhythmic and riff driven rabidity which secures the passions with its open infectiousness around a sonic squall which singes the senses and an evocative key sculpted melodic persuasion. Further lit by flames of impressive guitar colouring and rasping guttural vocals, aspects forging a solid attraction across the whole of the album, the track sets a new plateau for the release which is impressively equalled by the lumbering giant The Coils of Eden, a muscle bound slab of maliciousness prone to scintillating invention and climatic explosions of energy and spite and the exceptional Rancid Blood on Blackened Thorns. This song is a primal maelstrom of psychotic rhythmic incitement, ravenous vocals, and consuming riffs which wear away the top layer of the senses for the guitars to scorch their sonic enterprise upon. It is a breath-taking corrosion which exhausts and invigorates air and emotions.

As the closing orchestral breathing instrumental Carrion Winds of Golgotha makes a final wrapping atmospheric narrative, Satanae Tenebris Infinita stands as an impressive and captivating release, and though it does not send the passions into a fire of excitement it makes a more than satisfying companion whilst stating Imprecation as a returning potent force in death metal.

www.facebook.com/pages/Imprecation/194725213915960

8/10

RingMaster 25/06/2013

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Vorum: Poisoned Void

VorumPic

   Released via Dark Descent Records and Woodcut Records, Poisoned Void is the long awaited debut full length album from Finnish death metallers Vorum. In 2009 the quartet unleashed what has been called as one of the best underground death metal of recent times with Grim Death Awaits, so anticipation for this first album was keen to say the least for a great many and it is hard to imagine they will be disappointed with its merciless intent.

Formed in 2006, Vorum has earned a notable place within Finnish death metal and the genre as a whole mainly through that first EP and also a split release with Vasaeleth entitled Profane Limbs of Ruinous Death in 2010. Whether Poisoned Void has built on or actually managed to equal that first triumph is debatable but the new album certainly is a striking and ravenous confrontation which does the reputation of the band no harm at all and will surely lead to a wider recognition. It is a dangerously aggressive and unrelenting violation which uses existing tools of the band and genre in an accomplished and pleasingly violent way. From first track to last the album is a dynamic and thunderous brute of a release which swamps the senses with dense hungry intensity and destructive riffs whilst offering an enterprise which grabs the attention. The album misses out on igniting a real fire for its impassioned insidious consumption but still leaves one satisfied and willing to be violated often again.

Impetuous Fires opens up the carnage with exhausting rhythms and debilitating riffs all presented with a merciless pace and Vorum_Cover_Netenergy. Vocalist Jonatan Johansson spills venom with every rasping syllable whilst his and Matti Jalava’s guitars grind and sear flesh away from the ear with nasty irresistible riffs and sonic grooves. The rhythmic onslaught from drummer Mikko Josefsson is numbing whilst bassist John Finne bruises with every predatory note; it is an impressive start to the release which leaves no one wondering why the band has earned the acclaim they have.

The following Death’s Stains and Rabid Blood continue the impressive work, the first with an initial grooved sonic twisting which evolves into a storm of exhausting massive riffs and an intensity which smothers with thick relish whilst the second gnaws and chews on the senses with a malevolence which gives the devil himself a bad name. Though both are distinctly different they have the same effect of bringing their recipients to their knees and begging for more whilst whimpering under the barbaric annihilation. Arguably especially in the second, the glorious melodic twists of sonic flames do not feel at ease within the tempest and the tracks are more secure and insatiable when left to devour the listener. It is a minor niggle but one which does leave the album wanting against its predecessor.

Thriving Darkness is a stalking piece of persistent malice with a delicious groove to match, its presence an intimidating disease eroding away the senses and igniting a replacing consuming rapture. Like the album the track is a real slow burner which emerges as certainly favourite track if not the best on the release. It passes its evil baton onto the sonic demon Evil Seed, a song which burns and disfigures synapses like a sonic acid. It is pure sin, an injurious wash of malicious invention and intent. Like its predecessor the track takes time to make its carnal persuasion but succeeds with relative ease, though again the heated melodic spears of craft do not necessarily settle as easily upon thoughts as they would wish.

In Obscurity Revealed and Dance of Heresy offer further pleasing crippling ravishment whilst the closing title track is a final deep scarring to leave one blissful yet sore. From vocals to the heart driven sounds, track and album are certainly impressive if falling short of the very high standards Vorum had already put in place. It is with ease  though a cut above a great many of the other emerging underground death metal releases to appear over the past twelve months or so, and a must investigate for genre fans and those of the likes of Autopsy, Asphyx, Incantation and Convulse.

www.vorumdeath.com

RingMaster 26/01/2013

Copyright RingMaster: MyFreeCopyright