Megascavenger – As Dystopia Beckons


With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

M-Pire Of Evil – Crucified


    Crucified is a mixed bag of tracks which combine to make a pleasing and satisfying encounter that without lighting any hunger driven fires in the passions certainly brings a smile to the face. Unleashed by UK metallers M-Pire Of Evil, the band formed by former members of the legendary Venom, Jeff “Mantas” Dunn (guitar) and Tony “Demolition Man” Dolan (vocals & bass), the album thrusts eleven heavy metal/thrash powered aggression fuelled tracks through the ear, their offerings made up of new material and revisited tracks from the five year period the duo played together in the black metal masters. It is an album which works much better than just a simple best of… album or one simply copying of past glories, but when the best material on the release is arguably the new songs there is a sense that it missed the opportunity to make a mark like its predecessor the acclaimed Hell To The Holy.

With drummer Marc “JXN” Jackson carving up the ear with his intensive rhythms alongside the founding pair, M-Pire Of Evil turn M-Pire Of Evil - Crucified - Coveron a furnace of insatiable riffs and heavy handed rhythms wrapped in a sonic enterprise which twists its skilled creativity around the assault. Opening track of the Mausoleum Records released album, Temples of Ice, originally from the album of the same name, swaggers in with an expressive groove  wrapping plundering of rhythms and a predatory atmosphere. Once Dolan unleashes his scowling tones upon the song the track surges with a thrash crafted hunger through to the senses, its switching gait as infectious as the melodic flames searing the ear from the guitars. It is a strong and enjoyable track which like all the subsequent re-inventions makes a valid declaration for their intent and presence.

The following Parasite, one of three visits to Prime Evil of 1989, is an excellent confrontation, a destructive spiteful fury which brings a Motorhead like rapaciousness for an unbridled treat but whether you can say it improves or does enough with the original is debatable, though such its strength it is hard to mind this slight failing. As the likes of The Waste Lands bred Kissing the Beast, the rabid Carnivorous with its corrosive riffing and delicious groove, and the excellent Black Legions bleeds its intensive destruction over the senses the album gets better and better even if still yet to truly spark any passion or find a true cutting edge to its spiteful snarl.

Both Need to Kill and Wolverine chew with accomplished craft and expected power though still the feeling of a lost opportunity shows its head across what it has to be said is enjoyable savagery. It is with the appearance of the three originals that intrigue is truly piqued and fed, starting with the title track, a song which prowls and courts the ear with less intensity but more expressive passion and inventive imagination. It is an enthralling song with the guitar captivation more about adventure than aggression and the melodic wash of sonic persuasion an impressive ally.

The closing pair of Demone and Taking It All grip attention with a stronger lure than in the earlier part of the album, the first with a punk infused thrash tempest which charges up the emotions with anthemic toxicity and the second with an air of exploration to its breath. The track is the best on the album, a ferocious consumption of ravaging riffs and belligerent rhythms ridden by the mutually voracious vocals. It is a fine climax which in many ways accentuates the feeling of a missed chance by the band to create something more memorable than it is.

Despite that Crucified is a an album which leaves only enjoyment in its wake whilst bringing a heavy metal energy to tracks which already have a place in history through their original creators. It is a strong interlude in what can be hoped is more original adventure from M-Pire Of Evil ahead.


RingMaster 17/05/2013

Copyright RingMaster: MyFreeCopyright

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