Show Of Bedlam –Transfiguration

They may not be the most prolific of bands recording wise but without doubt when Canadians doomsters Show Of Bedlam uncage their creative imaginations and sonic dexterity it results in something truly irresistible and memorable. That claim is richly confirmed yet again with the band’s new seven track EP/mini album, the quite stunning and unnerving Transfiguration.

The Show Of Bedlam sound has never been solely confined by that doom tagging, their fusion of sludge, post hardcore and punk, and atmospheric malevolence a cauldron of raw and transfixing invention and suggestion but never has it been so mesmeric, bone-chilling, and psychotically arcane as within Transfiguration. The release is a furnace of raw emotion and intensity soaked in a suffocating beauty; the band creating an evocation of macabre intrigue and corrosive psychosis which if the Witchfinder General was still a figure of ‘responsibility’ would have Show Of Bedlam burning at the stake.

From their debut release as one half of the split Autocannibalist with Jucifer in 2009 to first album Roont in 2012 and now Transfiguration, Montréal hailing Show Of Bedlam has kept ears and fears waiting and richly rewarded. The time between releases has seen the band continue to nurture and hone, push and experiment with a sound which is instinctively unique and dramatically imposing. For all their previous successes, Transfiguration is easily the band’s finest moment to date and the moment they surely blossom from a widely known secret to a fully-fledged inspiration within the metal scene.

Twelve minute opener Blue Lotus immediately engulfs the senses with its sonic smog of intrigue and melodic discord; enticing and intimidating in equal measure as it crowds the listener ready for the equally haunting and inescapable prowess of Paulina Richards’ presence and voice. There is virulence to all the dark thoughts and visceral imagery escaping the stifling atmospheric density; infectiousness as easily trespassing body and thoughts as the psychosis of sound carrying it. With a gothic wash equally blossoming and recalling Xmal Deutschland at times, the glorious predator of a track swallows the listener with its tapestry of creative spite and despair simultaneously disturbing and invigorating with its oppressive magnificence and intimate examination of the senses.

Latest single Taelus swiftly follows, teasing ears with its melodic beckoning as beats wait to lay an occasionally anthemic hand on an already eager appetite. As a sample lurks, the song simmers and bubbles, bursting from its confines as vocals and guitars entwine in another caustic wash of sonic tempting stalked by the hungry rumblings of bass. As its predecessor, the similarly deceitfully catchy track is as descriptive sonically as it is vocally, every fresh wave and adventure of intensity and cunning a new twist in the nightmarish landscape painted note by note, syllable by syllable.

At two minutes plus, the album’s title track is a short and powerful insight into a blossoming defiance and turning of the worm within a rhythmically entrancing and gripping affair, inciting the senses physically and  emotionally before Hall of Mirrors rises from its slumber with carnivorous breath and intent. It crawls over the listener, dragging its sludgy weight and doomy intensity with rapacious relentlessness as Richards roars with unbridled emotive intensity and persuasion. It too ebbs and flows with energy and greater volcanic urgency, consuming the senses with lava-esque ferocity lined with more of the band’s contagious groove spited toxicity; it all leading to a climax which simply consumes all before it.

Lamentation offers a respite of sorts, its twenty odd seconds a detour into a fresh fly infested charnel house from which the oppressive elegance and invasive almost cancerous  tempest of Easter Water broods and escapes. With every passing second it looms up and imposes its weight and immersive embrace, bullying whilst igniting ears and imagination. Subsequent slips into less intensive though no less spine-chilling and fearsome pastures as well as the darkest corners only adds to the theatre of sound and its realm of the portentously obscure, and to the imagery festering and conjuring in the imagination.

Closed by the brief sonic ruin of L’Appel Du Vide, quite simply Transfiguration is glorious; daunting and alarming for sure but a sonically and emotionally distressed alchemy of sound and invention which leaves the majority of releases this year so far and easy to suspect to come, looking bland and uneventful. As the world falls further into disaster and decay, so Show Of Bedlam rises, their sound and new offering the perfect soundtrack and antidote.

Transfiguration is released May 12th through PRC Music and Sentient Ruin Laboratories with pre-ordering available now @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1447 and https://sentientruin.bandcamp.com/album/transfiguration

https://www.facebook.com/Show-of-Bedlam-231634652456

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

The Glorious Rebellion – Euphoric

 

Live at the Haven 05/30/2015. Photo by Sandy Rushing. — with Zeke Rushing, Wade Scianimanico and Billy Myers III.

Live at the Haven 05/30/2015. Photo by Sandy Rushing. — with Zeke Rushing, Wade Scianimanico and Billy Myers III.

Euphoric is the kind of bully no one can have a problem with. It is a release which harries and bruises the senses as if it was created to do nothing else, though truthfully, the debut mini album from US noise rockers The Glorious Rebellion is just as uncompromising and seriously compelling with its range of intrusive hooks within an infectious swagger. The band creates corrosive rock ‘n’ roll with a bite and attitude as virulent as the imagination that fuels it.

Formed and driven by vocalist/guitarist Billy Myers III, the Florida hailing band was soon lighting up their local live scene, that success stretching further afield as their dirtily rapacious noise rock ferocity and sonic rabidity grabbed attention. As rich in almost savage melodic mischief, their music seemed to easily spark crowds as The Glorious Rebellion shared stages with the likes of Jucifer, The Phuss, Black Tusk, Ken Mode, Lo-Pan, Black Cobra, Child Bite, Holly Hunt, Hollow Leg, and Destroyer of Light amongst many over time, successes luring new fans whilst enhancing the band’s reputation pushed again by the release of their two track single I in 2014. The years have also seen numerous line-up changes over the years; in fact it seems any page you look at and info found has a different line-up suggested. Importantly for the album though, it is Myers igniting ears with everything apart from drums which the impressing dynamics and swings of Wade Scianimanico takes care of. With additional vocals provided by Dan Manata, Euphoric is a sure-fire ball buster of sound, attitude, and intensity, which predominantly leaves pleasure emulating the album’s title.

The album opens with It’s A Sucker’s Game, Kid and straight away has ears under sonic and rhythmic siege whilst already sparking an eager appetite for what is to follow. What do badger the senses next are thick and predatory grooves around just as grouchy riffs and rhythms.  Already a heavy catchiness is laying potent bait, lures reinforced by the excellent attitude sculpted roars of Myers and an even strong spice to the grooves. In full aggressive stride, there is a Pigs meets Unsane feel with a tasty whiff of Motorhead to the track, though to be fair, all are passing essences in the band’s distinctive animosity of sound.

Glorious rebellion euphoric_RingMasterReviewThe great start continues with the equally infectious and fearsome Emmett Brown Has Never Met A Scott That Wasn’t Great. From a more low key start, a thick tide of riffs and rhythms descend on ears before stepping aside momentarily for that great initial coaxing to grip attention all over again. Throughout, the song makes for an intrusive and abrasive proposition but digs into the psyche just as potently with its unpredictable and inventively twisted web of noise and ear gripping adventure. It’s easy to offer Melvins as a hint to the song’s escapade whilst the even more outstanding Benaquyl and its enslaving rock ‘n’ roll nudges thoughts of bands like Gruntruck and The Great Sabatini in the course of sculpting another pinnacle within Euphoric straight after. The song also highlights more of the variety of spices in the band’s sound, stoner and punk as open as this slab of noise rock breeding.

The brilliant Have I Told You Lately That I Loathe You? snarls and rages next with vocals and guitars as irritable as each other and just as pungently enticing around the rancorous grumble of the bass. Within that hostility though, band and songs cast some of the most addictive and infectious essences to be found on the release. They are elements which turns hunger into a lust for more which The Dirtiest Dream Jobs feeds with its cantankerous tone and sonic enterprise soaked in melodic acidity. Admittedly personal tastes are not quite on fire for the song as for its predecessors yet it is nothing less than a highly enjoyable and in turn lingering tempting drawing attention back onto band and release.

The album closes with Bitches Hate Misogyny, an ill-tempered and tempestuous blaze of sound and vocal incitement which tells you all you need to know about the band in noise, craft, humour, and thrilling adventure. It is a hellacious mouth-watering end to an equally impressive release which was our introduction to The Glorious Rebellion but the beginning of a major kinship between ear and sound we suspect; something hard to see us being alone in.

Euphoric is out now via Magnetic Eye and @ https://thegloriousrebellion.bandcamp.com/

http://www.facebook.com/thegloriousrebellion   http://thegloriousrebellion.bigcartel.com   https://twitter.com/TGRnoise

Pete RingMaster 18/04/2016

Copyright RingMaster: MyFreeCopyright

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Show of Bedlam – Roont

Photo by Renaud Sakelaris.

Photo by Renaud Sakelaris.

We were hearing very good things about Canadian doomers Show of Bedlam because of a split with Jucifer in 2009, the band’s only release up to this point, and were told that we should take an interest in the band’s debut album Roont, released this week. This we did and discovered a release best described as a creative cauldron of sonic and emotional intensity filtered through howling atmospheric turbulence, i.e. one of the most exhilarating albums so far this year. It is as fiercely seductive as it is corrosively demonic, as virulently contagious as it is toxically inhospitable, and quite simply irresistible.

Hailing from Montreal, Show Of Bedlam’s sound is certainly doom metal bred but it is equally as sludgy as it is hardcore, as punk as it is noise and occult spiced rock ‘n’ roll. Influences are said to include the likes of Neurosis, Electric Wizard, The Swans, UFOMammut, Babes in Toyland, and Sonic Youth. The reality is for all references and inspirations cited and probably deserved, Show of Bedlam brew up a hellacious and thoroughly gripping mix ultimately distinct to them.

SHOW_OF_BEDLAM-Roont300x300    The album’s title track sets things off, a cold and harsh ambience looming in from afar, quickly joined by portentous rhythms and a maelstrom of sonic and noise bred provocation. It is an embrace of sound and incitement to match the band name, no coherent unity obvious yet a concussive invitation with control and instinctive enmity. From its thickening smog, acidic grooves and heavy senses roaming rhythms emerge, their imposing presence matched by a dark bass tone and the instantly engaging tones of vocalist Paulina Richards. Attitude and intensity drips from every syllable she expels, her delivery managing to be part croon, roar, and threat simultaneously. Hers is a soaring fury matched by the sounds around her, guitars spinning a caustic yet beguiling web whilst rhythms pummel and craft anthemic bait for every one of the song’s hellacious seconds. The track is fascinating, uncompromising textures and unpredictable imagination entangling every twist and turn in the passage and creation of the song, all those flavours earlier mentioned and more aligning to craft nine minutes of feral, bordering on satanic beauty.

An interlude comes next in the shape of 19, though contrary to most similar moments there is no escape into calm and safe waters here, the track an unrelenting harsh sonic wind with fleeting glimpses of another evocatively melodic realm. You can almost touch those elements as they are smothered in sound but always to no avail as the track insidiously escorts ears and emotions towards the following Vermin. Show of Bedlam have already shown themselves adept at using samples, opening up this track with another before binding the passions in addictive hooks, dramatic grooves, and a punk bred infectiousness. It all entices from within a tempest of swarthy stoner-esque sonic psychosis with occult rock like flavouring. The track is outstanding, an emotional and intimidating turmoil to get lustful over casting a maelstrom of styles and ingenuity which just ignites the imagination. The song never lingers on one aspect for long but is equally unafraid to return to those choice essences and involve and twist them into fresher incitements again. At one point the song had a feel of L7 meets Blood Ceremony to it, then in the next it was something else again, and constantly spellbinding.

Next up, Dress for sale slips into darker and colder climes, its darkly shimmering countenance mesmeric as basslines and riffs crawl with menace through ears. It is a track soon ablaze though, acidic guitar enterprise and fierce vocal expression roaring with searing flames of energy whilst carrying just a hint of venomous intent. Once more the band has ears and imagination enthralled; abrasing and seducing both with ingenuity and simple but ingeniously woven creative aggression.

There is poetry to the sound and lyrical premise of all songs upon Roont, an almost corrosively romantic essence which especially floods the epic exploit of Itamu. The track is pure inventive drama, a journey through unforgiving yet intoxicating climates of sonic and emotional exploration. As everywhere, the track’s narrative is as engrossing as the music sound-tracking its story and predominantly because of the diverse and ever shifting delivery of Richards. She can brawl with ears as perfectly as she can seduce them, spark with aggression as potently as she can lure unbridled attention with a croon. With the rest of the band conjuring sounds of the same creative and effective dark majesty, the result is a track and release which borders on perfect.

With a bonus demo version of Vermin adding an extra treat, Roont is something all doom, sludge, heavy metal, and even hardcore fans should not be without. Very special is a description not easily offered in music these days but we tell you now, Show of Bedlam is that with the potential of being much more.

Roont is available now on CD via PRC Music @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1317 and digitally @ https://showofbedlam.bandcamp.com/

https://www.facebook.com/showofbedlam

RingMaster 07/05/2015

Copyright RingMaster: MyFreeCopyright

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Servants of the Mist – Gross Knowledge of Genital Mutilation

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Sludge and especially doom metal has never been strangers to despair and pain, nor hate come to that, but there can be few releases which consume and fester in the psyche with the sheer hostile weight and excruciating intensity as that found within Gross Knowledge of Genital Mutilation. The new EP from US metallers Servants of the Mist, it is a leviathan of ruinous abrasion and sonic pestilence which bears no mercy or respite in its bitter oppressiveness. The four-track proposition is without doubt not a welcoming listen or one attempting to lure in a wide spread of appetites but if sludge of the most demoralising and perverse order is your kind of bait than Gross Knowledge of Genital Mutilation is a definite exploration to brave.

Bred in Florida, Servants of the Mist emerged in 2010 through guitarist and main songwriter Ed Tobar. A clutch of personnel ensued before long-term vocalist Richard Smyth, Jr. joined the band. Musically the project was immersed in the more traditional doom sounds of Black Sabbath and Saint Vitus though also bringing different ripe flavours into the mix. Early demos helped spread awareness of band and sound whilst the sharing of stages with the likes of Jucifer, Ulcer, After Death, and the Tardy Brothers only reinforced the emergence of the band. More line-up changes occurred over the couple of years from forming before late 2012 going into the next year saw Tobar and Smyth JR. enlisting drummer RJ Howley, bassist Kenny Nguyen, and Jason Kleim on keyboards into Servants of the Mist. The band’s sound was also evolving, a thicker droning seducing its invention which subsequently led to a shift within the band of Nguyen to second guitar and Kleim to bass to exploit and further this turn. The results impressively emerged in the well-received and monstrously evil sounding Suicide Sex Pact EP, the base and seed to the just as hostile tsunami that is Gross Knowledge of Genital Mutilation. The new release also features the latest addition to the sextet, keyboardist Brian Schille, and the band’s heaviest, most vitriolic presence yet.

The torment opens with Sadism & Suffering, a brief introduction of portentous intrigue and atmospheric haunting cast through unnamedsamples and sonic persistence. Though arguably not openly leading into or hinting at the beast of sound to come, the piece has thoughts and emotions entwined with its dangerous and challenging presence before the following Undeserving steps up to demand and seize all attention. A wall of penetrating sonic animosity fills ears and senses first, guitars and keys venomously seducing and permeating the psyche whilst the bass offers its own lethal lure. The mere seconds feel like a month of sufferance before the lumbering rhythmic gait of the track shakes the earth and riffs slam upon the senses like a monolithic predator. The gateway to the darkest, deepest malevolent pit spreads its legs to expel a consuming flow of organic and ruinous intensity into the slowly twisting maelstrom whilst the jowls of its bestial intent, devours the imagination with scourge like rapaciousness. It is a heady and exhaustive proposition but one which ebbs and flows in its attack for ears and emotions to embrace the sonically blistered melodic veining which emerges between the raw vocal causticity and insidious emotions.

Just too long at almost twelve minutes for personal thresholds, the track is a compelling savagery which is emulated in a distinctly different guise by Commit Suicide. Bursting from another potent sample, the track is a bruising, uncompromising slab of punk infused sludge rioting. It has a definite familiarity to its groove and contagion, an indefinable one admittedly but a presence within its brutal enticement which at times suggests Nirvana, Killing Joke, and Eyehategod. It is a gripping stomp with murderous intent which grips the passions tightly before passing on for the title track to submerge senses and psyche in its disturbing provocation. The last song emerges from another disturbed ambience as bred in the opener before sluggishly unwinding tendrils of sonic toxicity and suffocating aural despondence. It is a masterful funereal death march, an intensive devouring devoid of hope and light but exuding a rabid beauty which can only seduce the souls of the wretched and the emotionally distorted.

Gross Knowledge of Genital Mutilation is at times a trial and in other moments a fearsome seduction, but perpetually a unique scavenger of emotions and fears which reinforces Servants of the Mist as one of the rarest and inescapable predations within extreme metal. Only the fearless and deranged will tackle the EP but their rewards come in just as weighty an offering as the violation.

The self-released Gross Knowledge of Genital Mutilation is available now @ http://servantsofthemist.bandcamp.com

http://www.facebook.com/servantsofthemist

8.5/10

RingMaster 24/06/2014

Copyright RingMaster: MyFreeCopyright

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Cokegoat – Vessel

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If an easy journey with scenic gentleness is the purpose of your musical intent then steering well away from Vessel, the debut album from Chicago sextet Cokegoat is advice to be heeded. The eight track release is a tsunami of imposing yet empowering sounds and invention; a tempest of stoner, sludge, and progressive metal which merges into a dramatically brawling and rigorously rewarding incitement. Riffs spew animosity and rhythms provoke with an even greater antagonism whilst vocals roar with eclectic venom across the consumption. It is a brutal and seductive onslaught, but one with equally ferocious veins of creativity and imagination which ensures every track ignites far more than just ears. The album is demanding from start to finish, often a punishing encounter, but mostly a tremendous debut roaring aloud the might and potential of these new provocateurs.

Consisting of Jeff Wojtysiak (vocals/guitar), Ed Nudd (guitarist/vocals), Rebekah Brown (keys/vocals), Chase Bentley (guitar), Tim Baldwin (bass), and Jordan Schultz (drums), Cokegoat has built a formidable reputation with their live performances alone which has seen the band sharing stages with the likes of Church of Misery, The Skull, Early Graves, Electric Hawk, Order of the Owl, Jucifer, Indian, Mount Salem and many more. Vessel though is set to ignite the widest and probably wildest attention with eagerly accompanying acclaim you can only expect such its intensive proposition. Recorded with Andy Nelson of Weekend Nachos and mastered by Carl Saff (Unsane, Red Fang, Earthless), the impressive album may not end up heading best of lists come December but it is a release which is intensely impacting and unforgettable.

As mentioned earlier the album is primarily bred in a mesh of sludge and stoner metal but the eclectic textures and sound of the release CGvesselcover1600_1600are just as potent and instantly on show as opener Fear the Followers rages against the ears. Launching a sonic rabidity matched by vocal squalls and punching rhythms, the track is a furious brew seeded in punk and hardcore. It takes the senses and expectations immediately by surprise and once wrong footing their assumptions, unfurls infectious grooves and a melodic acidity seducing appetite and imagination. Twisting and swerving with almost vitriolic endeavour, the song evolves into a riveting landscape of warm climes and intimidating shadows as a doom kissed weight lies eagerly upon the forceful roars and senses entwining sonic hues. It is a compelling introduction explored to greater heights by the following pair of songs.

Buried in the City entangles the listener in a web of sonic design and predatory rhythms straight away, the guitars winding tight evocative sirens of sound round thoughts whilst coarse vocal abrasing works on emotions, their graze tempered superbly by the underlying clean vocals which coax just as potently. The ambience of the song is erosive from the start but brews and accelerates its intense malevolence and rapaciousness to trap and enslave before the outstanding destructive crescendo of a finale gets involved.

The following Dogs is a predatory treat, its dark throaty bass opening a wonderful distorted lure which seduces the senses ready for the annihilatory prowl and disorientating psychedelic manipulating brought by guitars and keys respectively. It is an alluring entrance which only increases in contagion as the track settles into a sinew driven stroll with a captivating mix of clean male and female vocals encased in carnivorous riffing and caustic hooks. It is a bewitching suasion, one which never loses its strength of bait even when a fiery energy and urgency washes through the heart of the song, vocals returning to grizzled scowls and riffs to their contentious enticement. A truly mesmeric encounter which is evolving its presence and narrative right to the closing seconds, the track takes top honours on the album though it’s persistently challenged by tracks like the two parts of End of Your Life. Part 1 is a venomous almost bestial challenge but a provocation which makes for riveting submission, its primal riffery and rhythmic angst perfectly aligned to mystical keys and subsequently roving, virtually rampaging melodic invention. Its slow to grip start is a raging infection by its climax, something Part 2, tries to replicate, it also beginning with a fully immersive and restrained opening. To be fair restraint to Cokegoat is still a raw abrasion which strips senses mercilessly and scores emotions permanently. The track does not match its partner in persuasion or the earlier tracks, but easily continues the invigorating ravaging provided by Vessel.

Fly by Night, Pt. 2 is pure aural pestilence, its opening second the cue for a corrosive swamp of guitar and bass to beleaguer the senses whilst rhythms lash the body with cyclonic intensity, a metallic punk voracity again coursing through sound and band. That hunger and animosity is held tight as sonic adventure with progressive insight spills across the distressed canvas of the song. It results in another thoroughly engrossing and intensive examination, one contrasted pleasingly by Fly by Daylight. Whereas the hostile climate of the previous track devoured, the mellower seducing of melodies and warm enterprise here soothes the wounds, though a mix of charming and abrasing vocals continue to stand and at times scream face to face as keys bring a celestial spattering to the strenuous soundscape.

The track swallows the imagination with ease, a success matched by the closing Glorious Dead. The song is spellbinding, a sirenesque envelopment aligning to another barbarous though more respectful intensity which unveils and expands a weave of sonic adventure and melody kissed enterprise. It is a towering end to the album, alone unleashing all the might and riches of the band in songwriting, passion, and experimentation.

Vessel is not without minor issues, primarily the lack of variety to the predominate abrasing vocals, though that is more to do with personal taste, and at times a lack of toxins to make some songs a lingering venom away from the release. They are small nags though and cannot stop album and Cokegoat providing an impressive and exciting debut.

Vessel is now available digitally from http://cokegoat.bandcamp.com/ and on red vinyl from The Path Less Traveled Records

http://www.facebook.com/cokegoat

8.5/10

RingMaster 30/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Stuntman – Incorporate The Excess

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    An infernal noise machine with a brutality to match, French senses annihilators Stuntman unleash all of their intensive malevolence and sonic fury, and then some, with new album Incorporate The Excess. A pestilence of hardcore and noise ferocity, the seven track release is a carnivorous slayer of the senses and entrapment of the passions from a band no stranger to corrupting audiences since their formation in 2002. It is a provocation which maybe is the Sète quartet at its most venomous and violent yet on a release which takes a couple of tracks before fully seducing the passions but once into its stride is a ruinous onslaught which leaves ears and body wasted and the imagination not forgetting emotions raging.

     With two previous albums, an EP and split, as well as numerous compilation appearances under their belt and more than 150 shows alongside five European tours where the band has shared stages with the likes of Coalesce, Russian Circles, Jucifer, Genghis Tron, Child Abuse, Kongh, Mumakil and many more, Stuntman have sculpted out a new depth of intensity with Incorporate The Excess. Released via Solar Flare Records digitally and as a 12” LP in addition to a CD release through Head Records and a cassette version through Lost Pilgrims, the album takes no prisoners, does not even allow them to raise hands in surrender, instead going straight for the jugular from its first full assault.

    The brief intro Broken Mirrors Lacerate sets things off, its minute long mix of samples and random metallic sounds SLF013---hi-res-coverrevealing little and offering not much more in the scheme of things. Once it steps aside for The Patriot, the Elite, the Icon the ferocious flight is ignited, the track a savage squall of ravenous riffs and rhythmic provocation scarred by the caustic vocals. The track grazes and scores the senses with a sonic rabidity aligned to a predation from the rhythms which is eye watering but equally it is a thrilling scourge which provides a familiar and unsurprising in many ways presence. Nevertheless the assault leaves a certain appetite wanting more which is duly delivered with the voracious Bag of Dicks, the vehemence drenched tempest another similarly driven and pleasing ravaging which like its predecessor is low on casting something out of the ordinary but unerringly hits the spot.

    Everything changes and ignites though with the album suddenly exploding into another kind of beast through firstly the rapacious tsunami of vicious contagion and groove fuelled animosity that is Horn of Misery. Its initial touch is a writhing swamp of sonic causticity and rhythmic violence merged into a senses smothering wall of hate. Once intensive virulently addictive grooves break free to entwine and seduce with the strongest acidic toxicity and rhythms provide a dislocated dance of barbaric enterprise, the song becomes an irresistible magnet of magnificence, a strike taking the release up numerous levels soon matched by the plateau reinforcing Roll the Skull. Snarling and nagging as it works over the senses with thunderous drum assault and acutely incisive and niggling riffs whilst the bass finds a greater delicious guttural predatory tone adding extra texture and snarl to its malevolence this time around, the track is a full on vat of intensive persuasive . Less pronounced but just as epidemically infected, grooves again steer the song deep into the imagination, their flailing arms wrapping unerringly around the passions and now unbridled hunger coated in greed for the release.

   The following Chaos Shepherd is a two minutes all out malicious antagonist, riffs and rhythms brewing up a pestilential onslaught which corrodes and suffocates with its blistering and hellacious anger. It makes the perfect softener of the senses for the closing eight minute slab of intensive severity, Scarecrow Warfare. The track is like a heavy plundering dark leviathan putting everything else in its shade with a towering tirade of riffs and ponderous concussive rhythms speared by discord coated sonic swipes. The track stalks and preys on ears with a bestial carnality to its intensity and uncompromising savagery to its seductive weaponry. An instrumental which you would imagine might outstay its long provocation, the track is a synapse drowning, passions igniting slab of heavy-duty sonic alchemy from start to finish and quite scintillating.

    It might take a couple of tracks to explode but Incorporate The Excess turns into one dangerously addictive and merciless treat. Stuntman takes noise and turns it into the most lethal seduction which makes their new album overall one frighteningly toxic temptation you only want more of.

https://stuntmannoise.bandcamp.com/

https://stuntmannoise.bandpage.com/

8.5/10

RingMaster 20/01/2014

 Copyright RingMaster: MyFreeCopyright

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Electricjezus – Грязь поколений

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Hailing from Russia Electricjezus creates a monster of a sound, a heavy expanse of weight and sonic oppression which absorbs the essences of multiple flavours and turns them into one exhausting corrosive pleasure. Their debut album Грязь поколений (translated as Mud Of Generations) is a consumptive introduction of their intense presence, a raw and merciless release leaving one drenched in their textured onslaughts and full promise.

Electricjezus is the two man project of Ruslan Frolov (guitar/bass/vocal) and Oleg Skorohodov (drums), two musicians who have reaped the seeds of their influences such as Melvins, Electric Wizard, Earth, Jucifer, Today Is The Day, Sunn O))), Monarch, Flipper, Dystopia, Pantera and many more , and twisted them into their individual forging of post rock, sludge and doom metal, black metal, hardcore, stoner and a further plenty of loud whisperings of other flavourings. With successful shows under their belt across cities such as Moscow, the Moscow region, and St. Petersburg, the pair entered the Go!Monkey studio in Dmitrov and recorded their debut album live using only analog equipment spanning years in age and from across many countries, the caustic, organically raw, and carnivorous results rife upon the release. With songs sung entirely in Russian, and an intriguing potent veining of audio samples from horror movies throughout, the album eats at the senses and oppresses the safety of thoughts and emotions. It is not the easiest listen to come across but one which lingers and inspires rich eager reactions.

As its title suggests, the album is a thick dirty expanse of sonic intrusion which starts with Корм. The track opens with an excellent film sample soon skirted by a resonating impacting bass provocation and sonic carving of the air whilst rhythms wait patiently to unleash their venom. As it moves forward a groove is equally just itching to expel its heart but first a filthy rub of expressive malevolence grips the ear before interchanging with its counterpart to tease and mistreat the senses impressively. Into its stride the instrumental gallops with a stoner urgency to its sludgier breath and continues to incite the senses with fluid and incendiary shifts in energy and enterprise. The abrasive air of the track adds to the pleasing scrub upon the ear and littered with the melodic flames of imagination and great synth crafted extras from guest musician Sasha Selezneff, it is a storm which pulls the senses right into its live heart.

Connected by a bedlamic soundbite the opener passes on to Петли обмана another track which immediately engages intrigue and appetite for its hungry intensity. Harsh squalling vocals bring another raw uncomfortable additive to the album and within the prowling course of the song, scars with insidious malevolence. A black metal embrace through the vocals especially, lays intrusive shadows within the piece whilst its successor Улицы twists it all again within an infectious beat inviting rampage. With the vocals enclosed in a seemingly secluded environment, like they were recorded in the bathroom compared to the hallway for the music which for most releases this would just fall flat, upon Грязь поколений it all adds to the villainous and satisfying experience.

The following intensive title track with its epic soundscape in length and malicious pressure upon the senses, the blink and be consumed swift attack of Плеть культуры, and the predatory Бассейн, all immerse the listener in their violations of sonic invention and rapacious greed. The last of the trio is a stoner/sludge/hardcore punk confrontation speared by a tempting groove and acidic blues lilted guitar, the rasping punishing vocals feeding on the passions and sore senses with further thrilling results. It is hard to pick a favourite track on the release but certainly this steps forward boldly with each deliberation.

The album ends with Все позволено, the song a furnace of sonic fortitude and flesh peeling grooves. As throughout, the guitar is a scything blade across the ear, its abrasive edges searing and cauterising the senses at every turn whether in a slow laboured intent or an urgent annihilation, whilst the drums chain and slap with unguarded treachery. The song is a great end to a great album. Its coarse breath and dirty touch will not be for all but for those it does enflame, the album pushes Electricjezus forward as one exciting prospect.

Grab the album as Name your price release @ http://electricjezus.bandcamp.com/

https://www.facebook.com/pages/Electricjezus/575252375818127

8/10

RingMaster 21/04/2013

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