Third Sovereign – Perversion Swallowing Sanity

3rdS_RingMaster Review

The Asian metal scene is still a relatively untapped and certainly unrecognised landscape in the awareness of the majority on the outside, this despite the impressive bands and releases springing from it over the years. Through the fine efforts and passions of bands and labels/PR companies like Transcending Obscurity, a few things deservedly escape the shadows to earn strong attention and draw new ears and appetite to the region’s mighty underground scene. One such offering is the striking new album, Perversion Swallowing Sanity, from Indian death metallers Third Sovereign. It is an explosive thrash fuelled incitement bred from old school seeds of death metal blossomed into something as intensely fresh as it is enjoyably nostalgic, and another example of the potency within India’s metal scene as Third Sovereign back up to the legendary status they carry in their homeland and surrounding areas.

Formed in 2003 by a trio of musicians from Aizawl, the capital of the state of Mizoram, after they moved to Delhi “in order to expand their horizons”, Third Sovereign quickly earned a reputation for their bold and pungent take on death metal. Inspiration to their sound comes from the time bands such as Sepultura, Monstrosity, Cannibal Corpse, and Vader were the prime death metal driven scourges on the senses. 2006 saw the release of debut EP Horrified Visions with their acclaimed first album, Destined To Suffer uncaged the following year, as its predecessor upon Demonstealer Records. The Deprived Serenity EP continued the attention capturing success of the album with its release in 2008, whilst the single Sarcophaga was nominated in the Best Metal Song category at the Rolling Stones Metal Awards a year later. Leaping on to the now and the band is ready to unveil second album Perversion Swallowing Sanity, a release sure to ignite the most potent range of acclaim and spotlights on the band yet.

art_RingMaster ReviewAizawl based again, Third Sovereign intrigue the imagination with opening introduction Sakei Ai Hla, voices in threat or calling, hard to know, leading the listener towards and into the brewing tempest of Grave of Humanity and an irritable climate of intimidating riffs and towering intensity. A few moments more and the track is rampaging with thick spicy grooves entwining thumping rhythms and rabid riffs. As vocalist Vedant prowls proceedings with his grizzly guttural tones, thrash bred fuel flows to incite and power the increasingly gripping provocation masterly coloured by guitarist Benjamin and given compelling bulk by bassist Jonah within Reuben’s skeletal rhythmic frame.

Demonic and fiercely enticing, the excellent opener makes way for the incessant violation and nagging persuasion of Sarcophaga; the track a tempestuous onslaught as bestial as it is creatively endearing. Spiralling grooves and sonic imagination light the smothering weight of heavy riffs and brutal rhythms, their union a vicious contagion unafraid to spew toxically bracing tendrils of melodic enterprise.

Both Living This Hate and Slaughtered Mankind descend on the senses with nostril flared and muscles merciless; the first a barbarous consumption of ears littered with psyche gripping hooks and fiery grooves carrying as much venom as the bruising menacing around them. Addiction is as swift as an appetite for the quartet’s intrusive rabidity of sound and ideation, its successor showing this an achievement working across the board of Perversion Swallowing Sanity with its fierce animus of sound and hungry intensity.

From the waspish and predatory trespass of Devolution of Mortality and the more controlled predation guided prowl of Spawned with Guilt, band and album squeeze their grip on ears and thoughts tighter. Through their own individually truculent designs, the pair find a mutual savage beauty and character to threaten and enthral, theirs a murderous seduction emulated in the skilfully sculpted and emotionally untamed Holocaust of Preaching. The track is outstanding with its grooves, as in its predecessors, essential lures backed by the nimble and scorching prowess of the guitar and the merciless uncompromising tempting of rhythms and vocals.

There is no denying that Third Sovereign songs are as anthemic as they are vehemently hellacious; captivating incitements as ready to tear out your soul as incite an uprising. The insidiously hued Dark Black is crawling pervasive proof, working its way under the skin to ignite the passions into a greedy lusting for more before the military seeded rhythmic emergence of Burnt Epitome draws the listener into one final invigorating storm of raw malice and virulent death metal tenacity.

It is an immense end to an outstanding release from a band deserving the fullest attention. Third Sovereign is prime example of the depth within Indian metal alone; one of the leading forces we all need in our metal lives.

Perversion Swallowing Sanity is released January 15th via Transcending Obscurity India @ or

Pete RingMaster 15/01/2016

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Poisonous: Perdition’s Den

Originally out in 2010 as a vinyl release through Blood Harvest Productions, Perdition’s Den from Brazilian death metal band Poisonous is one of those albums which deserves a wider route into the ears of the world and that is just what it has got with its upcoming re-release through on July 17th.  The album is not one to rip up the blueprint of the genre or overtly stretch its boundaries but is simply a well formed and strongly presented slab of straight forward unadulterated death metal.

Poisonous emerged from the ashes of Impetuous Rage, a band which found its own decent respect in the underground scene and for their album Inverted Redemption. Whereas Impetuous Rage had a sound which could be said to be influenced by the likes of Monstrosity, Deicide, and Vital Remains, the sounds of Poisonous have a heavier and fuller consumption borne from the dark corners of death which bands like Autopsy, Immolation, and Incantation frequent.2009 saw a two track demo from the band gain good approval and included a great version of The Black Vomit from Sarcófago, the same song also closing up Perdition’s Den to great effect. With the re-release of their album one can only think those great responses will escalate far beyond what it received with its previous limited exposure.

The album immediately rears over the senses with opener Subterranean Rules, its bulk a weighty intensity preying on the ear with shuddering riffs and jabbing beats. As the lurking evil of the song exposes itself through the vocals the track raises its temperature and attack, the rhythms at times stepping out of the driven assault to offer a seemingly chaotic and loose aspect to the track. It is all intended and controlled though and is a pleasing feature which reappears throughout the release.

The venomous Worthless Christ ruptures synapses with pure malevolence next to be forcibly backed up by the ravenous breath of Creeping Impurity and the sheer blackness of heart and sound of Blasphemy Arises from the Knowledge. The album as it drives through the ear to permeate every pore with its tenacious venom is a soiling storm with only earns positive thoughts and reactions. From the songwriting through its realisation in further strong songs like Black Clouds And Fever and the title track, to the giving production, Perdition’s Den is an enjoyable and easy to access release. As mentioned it does not force open new avenues but brings what we will call traditional elements of death metal through a fresh and sure touch.

Poisonous have a release which makes no apologies for exposing and violating shadows or the black heart of its victims. It is nasty, uncaring of your sanity, and a vicious rage, it is also a release all old school death metal fans will adore.

RingMaster 10/07/2012

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Nocturnal Torment: They Come At Night

They Come At Night is the debut album from US metalers Nocturnal Torment which has been twenty years in the making. Well not exactly true as though formed in 1988 commitments of the members to other projects  and bands took precedent resulting in Nocturnal Torment becoming dormant until recently. With a sound heavily soaked in the black depths of old school death metal lined with a thrash intensity recalling the likes of Pestilence, Monstrosity, Kreator, and Dark Angel, the Indiana based quartet of Mark Schultz (Guitar/Vocals), Tom Stathis (Guitar/Vocals), Pete Clemens (Bass), and Dave Ross (Drums)return with an album that does grabs attention. With riffs that slam hard and grooves that whip a storm throughout the ear the release leaves a distinct mark but not always for what it intended.  At times it verges on uncontrolled randomness and messy to overall disappoint and offer nothing really to excite.

Very often the nine tracks within They Come At Night produce ear startlingly moments that threaten to light up the senses but just as often they are whipped away by the bands desire to unleash a storm upon the senses without any kind of seeming subtlety or care. The songs often feel like a patchwork of ideas and a flurry of riffs just eager to assault without a clear and seamless transition. To be fair often this works well as in Cycle Of Life and Sweet Decay but it is rarely sustained. It is almost as if the band is trying to bring tech metal into play without actually going there, and as if they are playing with structures without either understanding how. For a band whose  bio suggests its members have been in bands since Nocturnal Torment had its enforced hiatus it is a surprisingly loose display and makes one ask whether the recordings come from back in their formative years though there is nothing else to suggest it.

Despite these things tracks like the aforementioned Cycle Of Life and Sweet Decay, plus Forever Eternal Darkness do hit the mark more often than not without ever being truly satisfying as do moments in the likes of Fresh Flesh Fetish and the title track. The heavy barracking of the drums and abusive riffs are malicious which drives the songs home powerfully and to their benefit erecting a wall of intensity that covers the less successful things beneath at times. I have to say that the desire to really like this album often reared its head on the album, and in many ways They Come At Night gives firm suggestion of possible great things ahead for Nocturnal Torment once they work on their style and fine tune what are basically bold and inventive ideas. They Come At Night is far from a car crash and should be checked out but against similar veined releases such as the new Desaster album it pales sadly.

RingMaster 23/02/2012 Registered & Protected


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