Warmblood – God Of Zombies


There is something invigorating and healthy about being accosted with visceral sonic spattering and rhythmic brutality, especially when it is unleashed with a technical tenacity and dexterity which grips the imagination. Such a striking infestation is God Of Zombies from Italian metallers Warmblood. The album is a delicious adventure of sinew shredding barbarism and senses searing viciousness with the tendency to simultaneously seduce with rich melodic flames and unpredictable invention. It is a wrath of melodic death metal riding the hostility of thrash and temptation of groove metal into a blood drenched terrain of decay and ravenous intent. Oh, it is also one thoroughly compelling and impressive assault too.

Warmblood began in 2002, founded by vocalist/guitarist Giancarlo Capra and drummer Elena Carnevali. Soon expanding to a trio with bassist Ivan Marconi, the band released a demo the following year. It was in 2009 that debut album Necrocosmos Destination was set free on the world, the time between releases seeing second guitarist Davide Mazzoletti join the Lodi band but Marconi leave. Deciding to continue as a threesome without a bassist, the band continued earning attention and praise for their live performances across shows and festival appearances, with their first album drawing a keen spotlight at home and further afield. A year later the band signed with Punishment 18 Records and released second full-length Timor Mortis. Inspired by the films of Lucio Fulci, it showed further evolution and hungry invention in the band’s sound. Supported by shows with bands such as Asphyx, Infernal War, Kraanium, Antropofagus, Psychofagist, and Blasphemer, the well-received encounter awoke stronger attention upon the band. Now with the release of God Of Zombies through Spew Records (Punishment 18), it is easy to expect the broadest recognition coming Warmblood’s way.

Opening on the portentous apocalyptic Intro (Zombie Genesi), an dramatically orchestrated instrumental piece soaked in menace, the album flies headlong into ears with Post Mortem Transfiguration, riffs and rhythms a torrential provocation from its first breath. Equally there is a tantalising sonic endeavour coating the tempest, scorched melodic temptation which sparks the imagination ready for the full weight and brutality of the song. Driven by pestilential gut wrenching vocals, the track smothers and infects with toxic intensity. Every syllable comes with a dose of festering ire and decay whilst the trash seeded thrust of the song is as rabid as it is uncompromising. Entwining that though is an invention of sonic intrigue and enterprise which spellbinds in its skill and adventure. It is a hellacious and exhilarating start to the album and only matched by its successor.

Contagium Escalation consumes ears with an even more hostile and urgent predation before honing a heavily thumping stride from which eruptions of malice and invention snare attention. It is not as easily flowing as its predecessor WarmbloodCoverbut still a captivating maelstrom of technical skill and inflamed agitation. Though the band has no bassist, there is a heavy tone which at times is hard to define whether it is bred from four strings or a baritone guitar but relentlessly gives tracks a richer ravenous shadow and depth, as shown by Eucharist Dead Flesh. Swaggering with a thrash seeded intimidation and energy, the song is a hostile flirtation, teasing and tearing the senses with its cantankerous and scarring scythes of sound and malevolence, an attack at times swathed in some quite delicious melodic ingenuity. It is a blistering treat of a violation but only the start of an extended new plateau breached by the album.

The next up Unfaithful Celebrant immediately and virulently entices with its rolling beats before sultry grooves salaciously bind rhythms and passions with their flirty designs. The track writhes with tempestuous persuasion, grooves an irresistible and twisted temptation amongst which a low slung growl adds its own enticement as beats unload their spears with composed yet violent intent. It is a glorious and inescapably addictive creative fury, the pinnacle of the album and alone bait to ensure Warmblood comes under the radar.

Both the thrash fuelled title track with its melodic familiarity and the ruggedly feisty Replaced by Death keep thoughts and emotions fired up, the first an evolving landscape of sonic colour and swinging hooks which is as evocatively restrained as it is furiously uncompromising. The second of the two is more of an unrelenting predator than the previous proposition but still prone to releases of exceptional melodic and skilled enterprise which seamlessly merges into the raw causticity and intensive provocation of the track. Vocally too persuasion is an instant slavery, the bestial yet seriously infectious tones of Capra an unending nightmare you only want to immerse deeper into, much as the album itself.

Culmination of Final Transformation is arguably the least hostile encounter upon God Of Zombies but one of the most engaging with its thick weave of melodic and sonic drama whilst the following Zombinferno is the last chapter to the demise of the album’s narrative. Opening with a vintage cinematic sample, the track explodes into prime rock ‘n’ roll whilst its death metal toned flanks ripple with animosity and a merciless rhythmic badgering is without brakes in speed and malice.

Closing with Ite Missa Est, a peace restoring of guitar sculpted instrumental beauty, God Of Zombies is corrosively spellbinding. It has a familiarity to it at times but just as thick originality across it too which makes it trap and feed ears with consummate ease. Warmblood is a band ready to break into the keenest spotlight, whether extreme metal is ready for their creative bloodlust is another thing.

God Of Zombies is available now via Spew Records


RingMaster 30/10/2014

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Kraanium: Post Mortal Coital Fixation

Post Mortal Coital Fixation is the third album from slam death metal band Kraanium and a festering bruise of corruptive violation and brain numbing intensity. Raw, barbaric, and perpetually intrusive the album marks a return to form for the Norwegian band and a great infestation upon the world before their US tour in June with Atrocious Abnormality and Coathanger Abortion.

Post Mortal Coital Fixation released via Comatose Music follows previous albums Ten Acts of Sickening Perversity and The Art of Female Sodomy. The Oslo quintet of vocalist Martin Funderud, guitarists Vidar Ermesjø and Mats Funderud, bassist Ian Slemming, and Mitch Rider on drums, take no prisoners nor do they have any qualms about trampling upon and abusing the senses and sensibility from song titles and lyrics though to the pillaging riffs and bile soaked intense sounds. It is not an easy experience for the ear but what violent pit borne and destructive intrusion is.

Staggering in on towering riffs and ruptured rhythms the album opens up the ear with brief intro track Post Mortal Fixation before flaring up with the brutal might of Stillborn Neurotic Fuck Feast. The track paces and tests limits with its flesh stripping riffs and the porcine guttering of frontman Funderud. Heavy, stripped down, and laying waste to the senses the track shows the band back to their formidable best after for many an arguably less than satisfactory second album.

The album is not openly adventurous nor the bringer of great diversity within its muscular hide but with infectious intestines of grooves and disengaged caustic melodies the release does not fall deeply into over whelming similarity either. The likes of Bursting Rectal Sores, the consumption of light that is Crack Whore Pounding, and the hypnotic and malicious Coprophagial Asphyxiation and one of the rare times bassist Slemming is plainly heard, all seek and fill every corner of the senses and thought with vile yet mesmeric vehemence.

As further tracks like the excellent Slammed Kranial Remains and Baptized in Boiling Sewage with its acidic grooved putrescent crawl consume, the album sucks the last essences of life from the senses, leaving dried up husks of depleted feelings and emotions. Post Mortal Coital Fixation is not for the faint hearted or for those needing warmth to their music. It is a plodding inhuman aural savagery that is as primitive and cruel as the hell it is inspired by, it is also in its sadistic way quite contagious and an overall rewarding malefaction.

Also including a cover of the Abominable Putridity song Entrails Full of Vermin, the album is a release to fire up all lovers of death metal, metal core and of course slam death. It is unlikely to make the majority of lists of 2012 top albums but it more than satisfies the needs of extreme metal fans as well as declaring Kraanium back on course.

RingMaster 21/05/2012

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