Stuntman – Incorporate The Excess

stuntmanpix

    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

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

http://www.audioburger.com

Kongh: Sole Creation

Kongh 2012

Swedish band Kongh undeniably has a strength and intensity as formidable as their name suggests and through their new album Sole Creation, offers forty five minutes of energy sapping, senses elating, and passion igniting creativity which is just breath-taking. Consisting of four tracks, the third full length release from the band consumes every corner of the psyche with an adventurous and hungry expanse of sludge and doom metal brought with a fiery loud whisper of progressive rock. It is an immense beast which gives some of the most melodically rewarding sounds heard in a long time whilst hungrily gnawing on the bones and synapses of the listener with heavy consuming intent.

The seeds for Kongh began in 2004 when David Johansson (guitar, bass and vocals) and Tomas Salonen (drums) met and began making heavy music together incorporating influences from their different musical backgrounds flavours from blues to grindcore. Two years later saw their first demo appeared, a four track brute of weighty sludge and loud riffing might which unexpectantly within two weeks sparked floods of strong reviews and independent label interest. By that fall the band had signed with Stockholm’s Trust No One Recordings (Isis, Khanate, Switchblade, Breach) and began work of their first album Counting Heartbeats which appeared in July of 2007. Again acclaim soaked the band backed by impressive live shows which included supporting Neurosis and Cult Of Luna. By the end of the next year following a limited split LP with Ocean Chief and a split 7” with Witch-Lord, the band and their epic musical atmospheric ‘hostilities’ were to the fore of awareness within European metal. Second album Shadows Of The Shapeless came out in 2009 and its evolved and aggressively intrusive sounds whipped up another storm of attention and acclaim from fans and media alike. It also received a full US release, the first time for the band as they received their most positive and enamoured reviews yet.

Kongh had reached a height to see them lie alongside the major doom/sludge metal names, with shows and performances with bandsARCD108 such as Weedeater, Ufomammut and YOB sealing their stature as they concentrated playing live and touring over the next two years. As the new Agonia Records released album shows this was a mere step in their rise as the further plateau reached and explored musically by Sole Creation, is their finest and most irresistible moment yet. It and the band is as confronting and abrasive as ever but with an expansive breath which reaches out further in imagination, sound, and impact. The four songs making up the album are individual slabs of dynamic sonic potency, rich melodic incursions, and senses challenging aggressive poetry.

The title track opens up the vat of dramatic excellence upon inciting rolling rhythms and a sonic wash with an acidic touch upon the ear. Soon into its sizzling gait the track unleashes teasing melodic hooks, grinding riffs, and a marked elevation in the intimidation of the rhythms. Once the growling spite of Johansson lies its rasping malevolence on flesh the song is grooving with a wonderful irritability soon tempered by the wonderful clean vocal harmonies which join the fray and insidious yet magnetic melodic caresses from the guitars. It is a sensational encounter which holds the passions tight within only the first four minutes of its ten plus. The track shifts its muscles into a varied venture of ideas and styles within the overall aggressive stance with imperious ease and craft to spark whispers of Mastodon, Kyuss, and Baroness, though Kongh capture a sound distinctly theirs at all times.

Second song Tamed Brute treats the already sore senses to a new decisive wash of sonic mastery to announce its entry before resting on an atmospheric peace though still with a disturbed air to its presence. It is not long before the track is a maelstrom of energy and passion soaked intensity which oppresses and smothers leaving one smouldering under its infectious annihilatory heat. The cleaner vocals are again especially striking though just one of a weave of sensational aspects on song and album.

     The Portals and Skymning complete the release, the first an emotion grasping physical endurance test with the deepest pleasure and enterprise the reward for its devastating and magnetic confrontation. An inferno as dense as it is incendiary the track is aural alchemy, the band turning riotous violence into a mesmeric contagious aural brilliance. The second of the two is equally guilty of the wizardry though it offers a less intensive pugnacity to its far reaching dark beauty, but again a level of musicianship in performance and songwriting which is just masterful.

Featuring a guest appearance from John Doe from Craft, the Magnus Lindberg (Cult Of Luna) mastered album is as flawless as is possible and in turn just sensational, a release which will inspire for a long time to come. Kongh now stand as massive as their cinematic namesake.

http://www.kongh.net/

9/10

RingMaster 05/2/2013

Copyright RingMaster: MyFreeCopyright