Whisper of Death – Noise of Obstinacy

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Noise of Obstinacy is an album which if you are in the mind to, you can pick at for its lack of real originality and at times over reliance of certain sounds and textures within its ten ravenous offerings, but at the end of the day the debut album from French metallers Whisper of Death is still one unrelenting buzz saw of enjoyment. Neck muscles and flagging energies are the testament to that. Accomplished and rigorously captivating with a seemingly Cannibal Corpse and Cryptopsy inspired death metal voracity with flavoursome extras, band and album leave ears and appetite gratefully satisfied and often excited.

Whisper Of Death hails from Ablis, a small village south of Yvelines and were soon drawing potent local attention after forming with their live presence which has seen them support the likes of Manimal, Leng Tch’e, Pitbulls in the Nursery, Black Bomb A, the Spirit of the Clan, and Betraying the Martyrs. The quintet released first demo Desossage in 2008, an introduction well-received by the band’s fans and underground. Its unleashing though was followed by a low key period for the band which saw a line-up change and one of its guitarist involved in a serious accident when he was hit by a car. It was unsurprisingly a slow time for the band but as soon as they were able to return to full strength, Whisper of Death released second demo Epilepsy in 2012, followed by the resumption of the band’s live attack. Last year was predominantly given to the creating and recording of Noise of Obstinacy at Studio Dark Wizard with François Ugarte (Pitbulls in the Nursery). Mixed and mastered by Alan Douches at West West Side Music (Nile, Mastodon), the album was uncaged towards the end of 2014, pushing Whisper of Death instantly towards a new attentive recognition.

     Cadaveric Discharge sets the ravaging off, emerging from a swarm of flies to grip ears and imagination with its artillery of lethal beats amidst a squall of savage guitars. It is a vicious Whisper Of Death - Artworkentrance but equally a magnetic one with a contagious swing lining emerging grooves and ferocious riffing. The vocals equally grab attention, a dual assault bringing variety to the malevolent delivery of venom soaked words and growls. With all songs sung in French and being linguistically challenged, lyrical adventures are unknown but there is no mistaking the rancor behind them. Turning more bestial with every second, the track is a formidable and pleasing start to the album backed right away by Cemetery Market.

Almost mischievously toying with ears with a quirky sonic flirtation, the second track needs little prompting to throw off the masquerade and show its malicious intent; ragged riffs and hostile rhythms colluding in one precisely honed provocation which is unafraid at times to uncage its darkest animosity and in other moments turn on expectations with striking and slightly warped invention. Across the album there are definitely certain twists and moments of ingenuity which break songs away from feeding assumptions and showing recognisable influences, maybe not enough to be honest, but as here when it occurs even in brief temptations, it turns songs and album into a very potent and potential fuelled proposition,

Both Desossage and Organ Bath pleasingly stir up air and senses, the first a blaze of raw antagonism with shot gun cocks and virulent scourges of tangy grooving making tasty additives to the infectious turbulence around them. The second has a slower gait, virtually lumbering along with low slung grooves and barbarous rhythms. There is still a ferocious intensity and energy to the encounter of course, just with a more pestilential intent rather than rabid instinct. Each hits the mark of enjoyment if not making startling impacts; something the following OBF has far more success with through its avalanche of rhythmic brutality and sonic toxicity. The track is a glorious truculence of sound and attitude, every swing of drum sticks leading to deranged bait whilst venomous grooves provide a sonic straight jacket twisting the psyche with their enterprise. With no lesser a devilish persuasion from the raw vocals and dark hearted bass rabidity, the track is the most adventurous and strikingly unpredictable on the album, and further reason to suspect Whisper of Death will emerge from the crowd if not now some point in the future with this kind of adventure.

Happy Burial whips up a blistering senses flailing storm next, not quite emulating the endeavour of the previous track but creating a bedlamic tempest to easily devour and enthuse about before Surgical Strike unloads its rhythmic torpedoes and sonic rapacity. Once again the track feeds the wants and matches levels already breached by the album but just does not go far enough to forge something truly remarkable. Nevertheless with a great agitation and psychotic mania to the changing assaults of the drums as the bass again finds the most salaciously dark lines to seduce with, the track has attention and pleasure tightly grasped.

Torture for Dummies bounces around like a serial killer waiting its moment to strike, a certain glee and excitement driving hooks and riffs as well as the catchy stride it initially offers. Of course this all plays out within a harsh landscape of sonic cruelty and toxic emotion which is just as bracing as the creative turmoil within it and helps turns Cannibalism Airlines into a visceral theatre of torrential spite and violently wanton rhythms. The track is another major highlight of the album, guitars and bass a flurry of intimidation and fury in their own right.

Battlefield brings the exhausting brutality to an end but not before creating its own peak in the album with a battering of flesh scarring beats, intrusively lingering grooves, and noxious vocals. It is the lighter caustic flirtations of imagination and psyche twisted endeavour which ignite the song predominantly though and ensures the album ends on a real high.

Noise of Obstinacy is as its title declares, a release doing its own things with zeal and defiance. It is not trying to reshape the walls and originality of death and extreme metal but increasingly it thrills and leaves emotions blissful, and I know which I prefer.

Noise of Obstinacy is available now digitally and on CD @ http://whisperod.bandcamp.com/

http://www.whisperofdeath.com/

RingMaster 28/02/2015

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Kill With Hate – Voices Of Obliteration

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From making an immediately contagious introduction at its start to ending up as one of the most enjoyably violating brutal romps to come along this year to date, Voices Of Obliteration the debut album from Hungarian death metallers Kill With Hate is an album all extreme metal fans should make an acquaintance with. From its mighty start the album is a constant treat with extra fires of quality emerging throughout and though it is questionable as to how much originality the Budapest quintet has forged into their release there is no denying it’s invigorating and thrilling impact.

Formed in December 2007, the band took no time in becoming a potent presence in the metal underground scene of their homeland. Sharing stages with bands such as Onslaught and Moonsorrow, Kill With Hate released their first EP in 2010. Evolution of the Beast was well received from fans and media and helped lead the band into playing with the likes of Job For A Cowboy, As I Lay Dying, and Belphegor. Some line-up changes followed as well as the chance to support The Black Dahlia Murder in 2011, followed by shows with Origin, Psycroptic, Leng Tch’e, and Cannibal Corpse over the next year. 2012 also saw the band record Voices of Obliteration and at the beginning of this, they signed with PRC Music for its CD release.

After the ok intro Revelation (It’s Just Murder), only really notable for its didgeridoo and male cloister union, the album kicks kwh_lowoff its corrosive tempest with Submersion. The track falls upon the ear with riffs and intensive rhythms crowding and abusing their recipients. Taking a brief breath for the grooves and intensity to stake its claim the song explodes again into a tirade of bone snapping drums punches from Bence Turcsák and deliciously insistent riffs and grooved temptation from guitarists Ákos Olt and Márton Hartvig. All the while the bass of Patrik Pornói prowls with predatory malevolence to further intimidate whilst the guttural scowls of Krisztián Gyémánt reap caustic treachery with the lyrical intent to exhaust the emotions further. With a latter flame of sonic melodic teasing which is enjoyable if short on impact, the track is a very satisfying murderous confrontation with destruction on its mind.

The short roll of crisp drum raps aligned to a deep bass groan opens the way for another furnace of violence from The Beast Within. The track is an outstanding carnivorous fury with  death and black metal styled vocals unleashing their dual malice upon a driving energy of riffs and vengeful rhythms. Unrelenting and merciless, the carnage of the torrential hellacious drumming and equally demanding and imposing riffs taking its toll on body and psyche, it simply leaves a wasted carcass grinning from ear to ear in its wake. At this point the album has made a strong persuasion and ignited greedy passions which the following Servant of God, Epistle of Fire, and Pray for War confidently and competently continue. Fair to say the trio of songs do not live up to their predecessors or others to follow but all leave a depth of pleasure and accomplished temptation which for many other releases would be their highlights.

A new heightened barrage of vindictive enterprise breaks free within Doubt to return the experience to the levels forged at the beginning and take them beyond. A ravenous sacking of the ear coursing with the now expected ferocity from the band and their imagination, the song wrongs foot by going against type with a scintillating twist of melodic guitar and similarly gaited bass lines  which offer a rock voice within the cavernous aural vehemence around and above them. It is a surprising and exhilarating thrust of invention within ultimately a tsunami like blitzkrieg. Imprisoned then takes over to offer an individual and equalling marauding storm of invasive spite. Mixing up vocal styles again as well as rippling with sonic intrigue and mastery from the guitars, the riff and rhythm incursion chains and enslaves with blistering efficiency. It is a maelstrom of energy, sounds, and black hearted passion honed into a tumultuous and inescapable nasty pleasure.

Completed by Speeches of the Defendant and a decent cover of Internal, a song of old Hungarian death metal band Extreme Deformity, Voices Of Obliteration is an excellent album from which it is hard to find anything not to hungrily like. Originality is debatably scarce maybe but the great sounds and violently aggressive encounter given, more than makes up for it. With this album, Kill With Hate is poised to find awareness well beyond their home borders one suspects.

http://www.killwithhate.com

http://facebook.com/killwithhateband

8/10

RingMaster 17/04/2013

Copyright RingMaster: MyFreeCopyright

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Dehuman: Black Throne of All Creation

Black Throne of All Creation the debut album from Belgian death metallers Dehuman does everything right with skill and passion, a release and band borne from  a devotion to the cult early to mid nineties death metal scene of the US and Western Europe. With threatening intensity, intimidating riffs and rhythms to leave emotions and senses sprawled in a heap, the album is a fine and wholly satisfying collection of nine consumptive beasts. It is impressive and easy to see why the acclaim is beginning to build upon the band, and whilst the release did not ignite a lingering personal enthusiasm or fire it is impossible not to be impressed by its technical and melodic prowess and the provocative energy fuelling it.

Formed in 2006 Dehuman has made a noticeable mark in the genre through their live shows and sharing stages with the likes of Agathocles, Arkangel, Hangman’s Chair, and Leng T’che. The band found its full strength in 2010 with the addition of drummer Layhe Louhenapessy to the ranks alongside guitarists Rafaël Sellekaerts and Mathias Boulougouris and vocalist/ bassist Andrea Vissol. The following year saw them enter the studio to create Black Throne of All Creation, the result  a crawling and thunderous brute of an album to delight all fans of old school death metal. If the likes of Morbid Angel, Suffocation, Death, Pestilence, and Nile leave your veins and senses a blissfully satiated mesh of ruptured emotions than Dehuman and their album is definitely one for you though it offers plenty to appeal to those preferring a contemporary breath.

Released through Kaotoxin Records the album immediately seizes the ear and beyond with dazzling melodic guitars and atmosphere to herald in the opener Apocalypse and Perdition. Even in this warmer opening the senses of power and darkened energy is rife through the building intensity and rhythms, its outbreak soon following in a swarm of muggy sonics and scorched melodic invention. The track captivates the attention throughout but when the strong groove stares eye to eye as the guitars violate with precision and the drums of Louhenapessy pillage the ear there is a heightened attraction to the aggressive assault.

As the likes of Monstrosity in the Hands of God  and Eyes of a Thousand rampage and stomp all over the senses the skill of the players bringing the invasive sounds is unmissable, the guitars striking and intelligent whilst the malevolent vocals of Vissol coats every syllable in black spite. It is the drums of Louhenapessy which make the biggest and most striking element to the album, his touch and skill as thunderous and demanding as it is hypnotic and mouth watering.

Stand out tracks include the likes of the flesh stripping Down with the World, the spiralling corruption that is Harvest the Sun, and Black Mamba a track with venomous melodic imagination to light up any ear. It has to be said there is not a weak track on the album with their relative success here down to personal taste and requirements and not the openly obvious invention.

Black Throne of All Creation is a must check out for all with a heart for what they would call the golden age of death metal. Well crafted and superbly written let alone presented the album is formidable  and Dehuman a band to watch closely.

RingMaster 28/05/2012

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