Dominhate – Towards The Light

Dominhate-Band

Born from the ashes of Italian thrash death metallers Esequie, Dominhate certainly make a convincing and impressive call their way with debut album Towards The Light. Formed in 2008 the members of Dominhate evolved from the sound cast their former band into a more death metal focused onslaught on ears and senses as new members joined the emerging force in the Italian underground scene. Breeding their own distinct if not yet wholly unique sound with inspirations from the likes of Morbid Angel and Incantation, the Pordenone hailing quartet have put down a strong marker with their first full-length. Released on The Spew Records, a division of Punishment 18 Records, it is not a startling encounter but one which pleases, lingers, and awakens a strong attentive interest in the band.

The title track provides an atmospheric entrance to the release, the album seemingly yawning as it wakes within a sonic haziness and intimidating ambience. It is fully alert and sizing up senses once The Light of the Last Legion spreads its inviting grooves and imposing rhythmic bait across the imagination. Soon into a muscular and intensive provocation, the song creatively stumbles through ears. The rhythmic attack is unpredictable and furious, corrosively matched by riffs and guttural vocal squalls as the track continues to intensify its weight and oppressive textures. An early representation of the album, the opener is not a dramatically striking provocation but undeniably one veined by skilled enterprise and creative intrigue for a richly enjoyable encounter.

Its potent offering is surpassed by the virulent animosity of In the Principle the Great Sleep. Riffs and grooves again align to create a contagious web punctuated by the feverish hostility and craft of the drums, they in turn skirted by a DominhateCoverthroaty bass predation. With the vocals shedding predacious intent and malevolence, the track is a voracious savaging of old school death metal with modern attitude and imagination. Its gripping presence is surpassed by The New Wave of Domination, a track developing an infectious violent swing to its persuasion once it has driven through a tempestuous ravaging of sonic hostility and rhythmic provocation. Like its predecessor the fury is as unrelenting in its ruinous attitude as it is in its inventive swagger, feasting on ears with insidious ferocity and corruptive relish.

Both The First Seed and The Essence of the Choice provide new scenery to the album, the first of the two spreading a sinister and slowly invasive atmosphere over ears and thoughts whilst guitars spin an evocative web of dark intent as restrained but firm rhythms punctuate the sonic narrative. It is a gripping landscape for the imagination to feed upon, the darkening and increasingly rugged terrain of the song only sparking a greater compelling lure to immerse the senses. Its successor explores a lighter adventure, compared to its predecessor, yet still energetically and feverishly soaking ears in blackened revelry and erosive death metal tenacity. The track is a torrential ravishing, arguably low on surprises but high on thrilling and skilful incitement.

Through Perception and Obscure the Call of Salvation, band and album continue to batter the barricades with accomplished craft and enthralling enterprise. The first is a steady but forceful stroll driven by fervour drenched riffs and anti-social beats. Clad in addictively winding sonic endeavour it makes way for the thicker pestilence of brutality and vocal rapacity from the second of the two. Both tracks fuel an already contented appetite over the album, if without reaching heights forged by earlier songs, though that is soon re-established by the ruinous might of King without Crown, a gripping tirade of waspish grooves and crippling rhythms under the demonic thrall of the vocals. It is an outstanding violation which alone makes Dominhate a band worth searching out.

Towards the Light closes with Redemption of One, an engrossing surrounding of the senses with antagonistic design to its raw and ravenous presence. Again intrigue and thought provoking invention spreads infectious toxins across the constantly growing and persuasive might of the track, another sizeable triumph the reward.

It is probably fair to say that Towards the Light does not offer any real surprises but equally it definitely does not give house room to predictability. The album is a richly pleasing and exciting encounter drenched in a potential which suggests that Dominhate is an emerging force of the future and a satisfying pleasure of the now.

Towards the Light is available now via The Spew Records @ http://dominhate.bandcamp.com/releases

https://www.facebook.com/Dominhate

RingMaster 23/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

Strength through adversity: Interview with Zach Simmons of Goatwhore

   Goatwhore 06

Goatwhore is one of those propositions which triggers extra sparks of enthusiasm and anticipation when you hear of a new unleashing from the New Orleans based band, and their new album Constricting Rage of the Merciless was certainly no different. Following the gripping and exhilarating Blood For The Master, it had much to live up to but rose to the task with ease to provide another brutal and uncompromising, as well as rigorously thrilling provocation. Not needing to be asked twice, we grabbed the chance to find out more about band and album through drummer Zack Simmons, proceeding to discuss the origins of and challenges before the band over the years as well as looking at the recording of and inspiration for their latest triumph…

Hi Zack and thank you for taking time to talk with us.

Before launching ourselves at new album Constricting Rage of the Merciless, can you give newcomers to Goatwhore some history to the band and its birth?

The band started around 1996 after Sammy’s other band, Acid Bath dissolved. It was out of a necessity to keep playing music for him and to take a darker direction than his previous band. I joined about ten years ago and our current bassist has been with us for five years, so this has been the most consistent line-up for the band.

Was there a specific intent behind the band and its sound at the start and has that continued today or evolved into something different?

The band started out with a heavily Celtic Frost, Bathory influenced sound and has sort of evolved to become its own animal. Those influences are definitely still intact but we’ve grown over time to allow some of our other influences to shine through as well. A lot of the stuff we grew up on, like Motorhead and Judas Priest has definitely made its way into our sound.

It is fair to say that the years have brought plenty of obstacles from the maybe accepted like line-up changes to the unexpected such as paranormal activity and natural disasters to bear on members and the band as a whole. Without this kind of trauma to incite the band’s emotions do you think Goatwhore and its sound would have been a different kind of beast?

I think all of those things have a big part in making the band what it is. We are sort of a product of our environment and experiences and even though we’ve had our fair share of negative occurrences, we’ve always seemed to come out the other end stronger.

All bands need perseverance and commitment to the cause but Goatwhore has needed more than most over the years would you say?

I would say so. We’ve been through a lot, man. Ben was involved in a van accident on tour which left him with two broken legs and not knowing if he’d be able to walk again. Also, hurricane Katrina was a major setback for the band. The Goatwhore coveralbum title kind of says it all. All these things that happen just make us want to push harder and keep going instead of being defeated. It makes for some very aggressive music.

As we mentioned you have just unleashed new album Constricting Rage of the Merciless, what was the feeling over it compared to previous albums for you as it was unveiled to the world?

Every album is very special to me because it is kind of a snapshot in time and holds a lot of memories and emotions. I think this is a very special album for the band and it’s just the next step in the evolution of Goatwhore. With every record you try to step things up a notch on every level. I definitely think we achieved that with this one.

How do you see the difference in sound and presence between Constricting Rage of the Merciless and previous albums Blood For The Master and Carving Out The Eyes Of God?

The main difference in the sound of this record and our past records stems from the fact that we tracked to two inch tape instead of digitally. It was a more time consuming process but the end result was well worth it. I think you can hear more of a vibe in this album and a punchier, warmer sound overall. Erik Rutan really outdid himself on this one.

You just mentioned that the new album was tracked to two-inch tape, what was the inspiration and idea behind this and how did this impact on your approach and style?

We thought it’d be a great way to try and capture our live sound on a record. Some bands want the really modern digital sound but that approach doesn’t really work for us. We want that classic, thick, heavy sound and recording to tape really brought that out. Recording to tape really requires you to be on top of your game and very prepared since there is much less opportunity for studio trickery. It’s a much more honest approach to recording and it worked very well for this band.

Where do you see the album pushes the Goatwhore sound and invention most potently?

I’d say there is a bit more anger and venom on this album than some of the more recent ones. It’s got a bit more variation as well. A song like Cold Earth… is an example of something we’ve never really done before. Little variations like that allow the album to breathe a little more and offer more of a ride for the listener.

Did you bring anything else majorly different way in songwriting and recording to the album this time around?

It was pretty much business as usual. I’d say we were more into the idea of trying new things and a little less apprehensive of changing things up a bit. Sometimes it’s good to get out of your comfort zone and see what happens. It’s a good way to stretch your boundaries as a musician.

Goatwhore photo01How does the songwriting process work within the band more often than not?

It all starts with getting into the practice room and firing up the amps. We’ll sift through the riff library and throw ideas around until something clicks. We also do a lot of work on our own since we live in different places. We’ll email ideas and song structures back and forth to get a head start on things for the next time we get together.

Other than being bred from the writers and band’s hearts how personal are your songs at their core?

I’m sure every song means something to different to each of us but each song is very personal to me. It’s an outlet of creativity and aggression that we all put a lot of heart into.

As you said earlier gain you linked up with Erik Rutan in the studio; was that always going to be the only choice of who to helm the recording or did you ever contemplate a new direction at any point here or on previous releases?

We never really thought of working with anyone else. We have very much the same vision in how this band needs to sound and how to make that happen. We work very well together and improve upon things with each record.

Eric is in many ways like an unofficial member of Goatwhore?

Totally! He really is the fifth member of the band.

We felt whereas Blood For The Master exploded like a beast in season that Constricting Rage Of The Merciless is more of a predatory proposition, one which prowls and sizes up the listener before going for their throats. Is that something you can see between the two?

I totally agree with that. This album has more of a bloodthirsty, murderous vibe to it. It’s a bit more chaotic and violent.

Every release to some degree opens a doorway to a new train of thought for bands about their sound and ideation ahead. Has there been anything about Constricting Rage Of The Merciless which has sparked certain ideas or intent for the next engagement?

It’s never something we plan or think about ahead of time. We’ll cross that bridge when we get there but I’m sure it’ll happen very organically and naturally like it always has. We are focused on touring now and spreading these new songs to any and every place with a stage and a power outlet.

Is there a particular aspect or moment within the album which gives you the biggest personal tingle of satisfaction? Goatwhore 03

To me, every song on the record gives a lot of gratification but one that really sticks out is Cold Earth…. After being bludgeoned with the first five songs, I think it’s the perfect song to set the tone for the second half of the album. It’s a pretty unique song for us.

What is next in store for and from Goatwhore?

We’ve got another two weeks on the Summer Slaughter tour with Morbid Angel in the US. After that we’ll be doing dates with Samhain in the US then heading to Europe with Dying Fetus in November.

Once again thanks so much for chatting with us. Any last words you have for us all?

No problem. Thank you! I hope to see you all at a show in the near future!

facebook.com/thegoat666

Read the review for Constricting Rage Of The Merciless @ https://ringmasterreviewintroduces.wordpress.com/2014/07/08/goatwhore-constricting-rage-of-the-merciless/

Pete RingMaster

The RingMaster Review 06/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Vexilla Regis Prodeunt Inferi – Self Titled

VRPICoverArt

Having missed like many their self-titled album when it was released in 2012, it is with thanks to Memento Mori for resurrecting the potent and thrilling offering from Vexilla Regis Prodeunt Inferi (V.R.P.I.) once again for us all to devour. The album is a pestilential treat of satanic death metal with a melodic veining and raw surface which simply fires up the imagination. The band has been called Mexico’s best kept secret but with this second outing for their album you suspect their unwilling privacy will be no more.

Consisting of members of Necroccultus, Sargatanas, Ominous Crucifix, Supplicium, and Leper Messiah in its line-up, the 2009 formed V.R.P.I. has forged an intensive and impressive reputation in their homeland’s extreme metal depths moving further afield. Their debut album has been the main cause of that, its ravenous spreading of the band’s contagiously vindictive sound insatiable and sure to incite a wider hungry spotlight this time around.

The album comes in nine chapters starting with the sinister Serpents Council. From its opening desperate and haunting air the track swiftly expels a controlled rabidity of riffs and rhythms bound in a sonic web of intrigue and enterprise. It is a caustic proposition especially with the raw throaty vocal squall of Rubens Nergal, but it spears that with a virulently enticing swinging groove which attaches to the stride of the song and the intimidating guitar designs forged by Ignis Deo, Edgar Ramirez, and Jesus Inukai. It is a short and potent provocation to get album and thoughts prepared for the creative torment ahead, which soon descends on the senses through Ceremony Of The Impure. The antagonistic rhythms of drummer Daniel Sanchez instantly cast an intimidating frame coloured further by the heavy lilted tones of bass from Angs Balandran. It is an intensive barracking but one tempered by the rich evocative hues of melody clad guitar and vocal chant in the background. The track does not ignite thoughts and passions as strikingly as expected and hinted at by the previous track but still has them simmering contentedly with a keen appetite.

That hunger is soon fed a tasty voracity through Towards Battlefields, its predatory breath and stalking gait flavoured with a compelling bass sound amidst another acidic weave of riffs and sonic confrontation equipped with turbulent enterprise and a rigorously captivating groove. The track is a formidable and threatening slab of addictive hostility, death metal at its feverishly creative and intensive best matched by the very brief Ravenous Apocalyptic Raids. The track is a swift scourge of malevolence and destructive enterprise which impressively leads straight into the just as nasty and riveting Purification By The Sword. A rancorous fury of crippling rhythms and scarring riffs blaze across the senses immediately, the latter’s alignment with a scorching sonic whining irresistible. The track proceeds to lurch and twist with bestial predation and intensive urgency before settling into a more controlled but no less insistent stalking with abrasing vocals and melodic toxicity nestling menacingly over the continuing rhythmic provocation. The best track on the album it is a monstrous infesting of ears and passions, alone a reason to take V.R.P.I. eagerly to your vulnerable breast.

Its might is matched by the rising from dark depths of Leviathans Coronation. Like an awakening subterranean beast, the track flexes its rabid muscles into a destructive air as bass and drums build a tumultuous cage of lethal rhythmic violence. Its sinews continue to ripple as riffs surge purposefully alongside a sonically fuelled melodic emprise which begins to paint the track’s demonic canvas. The track continues to test and challenge, frequently shifting its gears in gait and violating ears in dark intrigue and enthralling sound. It is a real brute of a song but one wrapped in an ingenious beauty and invention which is death metal as organic as it is singularly inventive.

Both Nine Kingdoms and Hunting And Sacrifice keep the grip of the album tight even if certainly the first of the two with its varying degrees of persuasion slips in stature to those before it. With a driving nagging groove and rhythmic unpredictability the track still leaves satisfaction high before its successor unleashes its hellacious and malignant fury upon the senses. Strange to say for a track intent on corruption and viciously imposing enmity there is an elegance to the song which seduces as its tears thoughts and emotions to their bare bones. It is an impossibly magnetic onslaught which makes way for the savage Necropolis Rising, a track unleashing all its lures and spite upon the ears in again absorbing and emotionally jaundiced manner. The further into its maelstrom it goes the more infectious and addictive it becomes, preying on the passions with skilled enterprise from each of the Irapuato sextet and a combined imagination.

The album is completed by tracks from the first demo of V.R.P.I.; the raw trio of Serpents Council, Ceremony Of The Impure, and Towards Battlefields more than decent inclusions which show the seeds from which the excellence of the album has emerged. For death metal in its best creative throes of adventure, ingenuity, and sheer malevolence, Vexilla Regis Prodeunt Inferi, band and album, is a no brainer recommendation, especially if the likes of Morbid Angel, Deicide, and Vital Remains appeal.

Vexilla Regis Prodeunt Inferi is available via Memento Mori now @ http://memento-mori.es/

https://www.facebook.com/VRPI666

9/10

RingMaster 01/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Near Death Condition – Evolving Towards Extinction

NDC

Sure to give extreme metal a big nudge to their existence and intimidating quality, Swiss death metallers Near Death Condition have unleashed their third full-length Evolving Towards Extinction, a towering and brutal assault on the senses. Thrusting eleven tracks of uncompromising and ravenous ferocity through the ears, the release also holds a rich vein of inventive imagination beneath the tsunami of vicious endeavour and intent. At times it is understated or needs extra attention to really explore, but it constantly makes each track an individual incitement of increasing rewards, all combining for an impressive stature to the album. It has to be said that the release does not consistently light a rigorous blaze in personal passions or excite as intensely in places as others, but there is no denying that attention and appetite are thrillingly fed.

Hailing from Valais, Near Death Condition emerged in 2001 with inspirations from bands such as Morbid Angel, Deicide, Deathspell Omega, Death, and Gorguts driving their immediately imposing sound. Since forming the band has lit up stages alongside the likes of Origin, Hour Of Penance, Darkane, Texture and numerous others whilst releasing a pair of full-lengths. Demo release Delusional Perception of Reality was uncaged in 2005 to good underground attention. Its success went towards the band eventually signing with Unique Leader Records with The Disembodied – In Spiritual Spheres released in 2011 to potent acclaim and responses from fans and press across the globe. March of this year saw Evolving Towards Extinction uncaged to again strong reactions and with its threatening gait, testing hostility, and creative tempest it is easy to see why.

The quartet of vocalists/guitarists Patrick and Stéphane, bassist Simon, and drummer Guido give a brief twinge of sinister drama before going straight for the throat with some of the most rabid riffs and destructive rhythms sure to be heard this year. The entrance of Words of Wisdom literally bowls the senses over, savaging their very being with increasing toxic sonic violation and rhythmic barbarism as riffs gnaw their surface and heavy guttural vocal expulsions roar malevolently. It is a hellacious introduction, one which never relents in its intensity even as the guitars begin unwinding equally venomous grooves and an underling swagger. Subsequently melodic acidity and shifting gaits join the tempest to engage the imagination as impressive guitar enterprise burns the surface of the by now predacious crawl. The track continues to twist and spit animosity with every note, beat, and syllable as it persistently evolves for a staggering first assault of the release.

The following Between the Dying and the Dead is no less vitriolic and hostile but takes little time in colouring its grievous landscape with swipes of celestial yet demonic harmonies and ravenous inventive bait. The guitars NDC coverpersistently carve rich grooves and ingenious hooks into the body of the song whilst bass and drums sculpt a bestial baiting. It is a glorious ferocity soaked in rabid dread but unafraid to spare room for a fire bred solo and additional imaginative detours. The track is at its strongest and most potent when it is going for the jugular but all the unpredictability and at times unsure turns, definitely keep the imagination engrossed. Its stirring presence is emulated by the barbaric Intelligent Design, another slaughter of the senses which is prone to flirtations of sonic and fiery melodic scorching as well as intriguing almost wrong footing exploits. Not as gripping as the first pair the track still leaves a hunger in place which is further healthily fed.

Pandemic of Ignorance stalks ears from its first breath, its shoulders heavy laden with hate over a spine of rhythmic bile wrapped in vehemence spawned grooves. It is a pestilential predator, its slow crawl sheer intimidation until eventually breaking free of its reins for a throat tearing onslaught, ears and senses overwhelmed by a storm of merciless aural and lyrical rancor. It is a compelling violation which sets emotions up for the outstanding Praise the Lord of Negation. It also is a song which flies for the jugular, this time with a swarm of sonic pestilence and rhythmic cruelty; that alone baits and traps a new greed within the passions but it is the insatiable maniacal fury to its psychotic repetitious seducing which hits the sweet spot.

The leviathan weighted crawl of The Anatomy of Disgust wrapped in similarly laboured but magnetic grooves comes next, its sultry flames of guitar across bloodlust driven rhythms and destructive riffery highly satisfying but lacking the spark of certainly its predecessor. The animalistic Anagamin finds its own incendiary fuse to invigorated responses, its pestilence coated prowl inspiring an animosity clad weave of invention which pushes the song enticingly into the grinning imagination. In many ways the album ebbs and flows, to be fair not in quality and individual skills but in degrees of success with personal tastes. As the following rapaciously consuming title track and the carnivorous Vertigo prove there is never a track where Near Death Condition does not bewitch and threaten with their inventive sanguinity, or impress.

Evolving Towards Extinction closes with the deliciously nagging Communing with Emptiness, a track swarming with serpentine grooves and riffs around the ever impressive artillery of disorientating drum voracity and dual vocal abrasions, and finally Nostalgia for Chaos. The final song is a beast in nature and stature as well as gait, but as the previous song endowed with some scintillating and feverishly enjoyable guitar enterprise. The ferocious incitement brings the album to a formidable and rapturously thrilling conclusion leaving the listener breathless but wholly satisfied. It is an album which also gets better and more potent over time, still undulating with some of its moments but with a baseline of rich satisfaction, a strong recommendation of Near Death Condition and album to all extreme metal fans is a no brainer.

Evolving Towards Extinction is available now on Unique Leader Records @ http://www.indiemerch.com/uniqueleader/band/near-death-condition

http://www.neardeathcondition.ch/

8.5/10

RingMaster 17/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

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

 

World addressing furies: an interview with Jost Kleinert of Lay Down Rotten

jost 2

For fifteen or so years German death metallers Lay Down Rotten have not only persistently unleashed formidable barbarous provocations to inspire and corrupt the senses but with each pushed their and the genres limits and fears into heavier and darker tempestuous depths. Their recently released new album Deathspell Catharsis is no exception, the release a brutal and inventive fury marking the band’s first release with new label Apostasy Records. Keen to find out more about we had the pleasure to talk with vocalist Jost Kleinert about the history of the band, their impressive new album, keeping the intensity of passion after so many years on the frontline and much more…

Hi Jost and welcome to the site, many thanks for taking time to allow us to look at your new album.

Just before that though can you give readers new to the band a quick background and history to Lay Down Rotten?

We are a Death Metal Band from Germany and we are proud of having our 15th band anniversary this year. We released 7 albums so far. Our current release is called Deathspell Catharsis and combines all features we are known for on one hell of an album. We love the melodies of 90s Swedish Death Metal and the impact of Old School Death Metal. This is what we stand for.

You just mentioned new album Deathspell Catharsis, a beast of an encounter. What are the feelings and hopes for it in its early days since being uncaged?

First of all we hope that the audience likes it as we always give our best with every release. So far we got great reviews, our release concerts were a blast and the feedback is just awesome: fans and critics praise this album. We want to play as much as possible to promote Deathspell Catharsis. We play a tour with the legendary Massacre from May 6th to 10th in Germany in cities such as Dresden and Hamburg. Then we are confirmed for festivals. Please check out our official website www.laydownrotten.com and our Facebook page. Press the like button and be a part of the growing Rotten Army!

It is the successor to the excellent Mask Of Malice, an album which was for us a barbaric and aggressive ‘shot in the arm’ for ldrdeath metal but arguably lacked that unique spark of adventure. Deathspell Catharsis has that adventure and more within it’s again senses obliterating malevolence and invention. How do you see the differences between the two albums?

Mask Of Malice is a very dark album…Brutal and honest. It still represents an episode in our band history that was very important and I don’t want to miss this experience. Mask Of Malice includes for example one of our favourite tracks Hades Resurrected which we shot a video for and love to play live. Deathspell Catharsis is more open and outgoing. The aggression is on the surface. We do not hold back on this album. This is the essence of all our releases so far and we wrote songs that reflect our status as a band and our personal view on this genre. We love what we do and feel inspired by every aspect of this scene.

Widening the gap, how would you say your sound has evolved since the early days and releases of the band, fifteen years ago?

We have become more experienced and we are proud of our standing, stamina and history. We as a band know exactly what we do and we are still hungry for new challenges. We don’t need external aid to achieve our goals. As far as the sound is concerned we have developed our own style and approach.

Numerous bands enjoy a similarly lengthy career but seemingly lose their snarl and bite over time, something Lay Down Rotten has avoided. What keeps that aggression and predatory hunger alive in the band and its songwriting?

 We are still curious and want more…More albums, more concerts, just more of everything. And we are still pissed off. Pissed off by the zeitgeist and the state the world is in. Moreover we are very dedicated and love to be a part of the Death Metal universe. I am still a fan of bands like Akercocke, Woods Of Ypress, Morbid Angel, and Edge Of Sanity. Nothing has changed. I have not changed. I still feel the adrenaline and I am still looking forward to playing live and being on the road.

What have been your biggest inspirations and do they still provides seeds of thought or has that changed over time?

Life itself, experiences we went through, episodes in our band history and of course books we have read, movies or other bands that gave us some inspiration.

cdarc016_ldr_dc_300dpiHow long was Deathspell Catharsis the making and did you approach it any differently to your previous full-lengths?

It took us three weeks to record the album and two months of writing the album. We developed a certain routine over the years. So we enjoyed the making of this record very much. We again entered the Desert Inn Studios to let T-Low produce this album. He is such a great guy and producer. We trust him and he knows us as he produced six of our albums. That was a walk in the park. It is very rewarding to work with people that have been supporting Lay Down Rotten for many years.

Not being a musician I assume every record brings something new to learn for an artist, what new things did you learn and find out during the making of Deathspell Catharsis which you can employ ahead?

Dedication and humility. Every album should be a new attempt to give your unique best. Second best is never good enough. Mediocre bullshit won’t do it for us. We challenge ourselves with every album to explore new ground without losing our profile. This is what makes it hard on the one hand but very exciting on the other hand. In the end every band has one purpose: to entertain. We entertain by being in honest in our passion for Death Metal.

How did you approach the studio time with the album and are songs pretty much finished when going into the recording process?

We are prepared. Time is money and to keep up a good work ethic it is important to be focused and ready when going to the studio. All the songs were finished and well-rehearsed.

As you mentioned you recorded Deathspell Catharsis with producer Thilo Krieger again, he is like an unofficial member of the band? What is it in him that reads your needs so well?

He knows the band very well. He knows how to create a suitable sound outfit and is experienced. Thilo is very disciplined and focused on the outcome of the studio work.  Sometimes it is hard for a band while recording. You stand too close in front of the mirror so that you cannot see anything. This is where a good producer comes in and puts things in the right perspective. We cannot thank him enough… Always a pleasure working with him.

We can pick out particular moments which get our juices especially flowing: the march of commanding hungry rhythms and riffs in The Fever, the malevolent dark bass prowl in Schädelberg, and the whole stalking presence of Among The Ruins Of A Once Glorious Temple, just three examples in an album which leaves the senses breathless. Is there a particular moment which gives you a certain tingle too?

Of course, for me every song has some kind of magic itself. For example the beginning of Cassandra’s Haunting gives me chills every time we perform this song. Then there are the lyrics for Schädelberg that just burst out of me in a hellish anguish on stage. We just poured our all into every song. So that may last forever. Every time we perform one of the songs memories come alive.

Tell us about the outstanding artwork for Deathspell Catharsis, how strong was the band’s input in this?

The artwork was done by Toshihiro Egawa who also did the artwork for our previous album. He and our guitarist Nils worked out the concept and completed the artwork together. This artwork combines scenes of the songs and shows the essence of Deathspell Catharsis. We are pretty pleased with the result and the great feedback from the fans who seem to like it very much.

The album is your first with Apostasy Records, how does this new home for Lay Down Rotten differ to previous ones like Metal ldr2Blade?

It just felt natural to join forces with Apostasy records. Always go with the flow…Sounds cheesy but it is as simple as that. Apostasy Records are very professional and put a lot of effort in promoting the album and supporting the band. We are very happy with their work.

Are you a band which looks back at previous releases with a critical eye to learn from or one where once an album is out and promoted to its limits looks primarily ahead confining older records to history?

Never look back. You live and learn. I cannot change the past but I can fight for a better tomorrow. We always had great support and are very grateful for that. We are looking forward to experiencing all that may come with the promotion of Deathspell Catharsis. With every album we learn something different. We do not have great expectations. That makes it easier for us to go on as we lay our focus on great live shows rather than dwelling in the past, regrets and just bullshit. And after this album a new album will come. So there is always something to look forward to.

How has metal intimately changed for the band and its experiences over the last fifteen years?

Trends will come and go. Authentic music and musicians will always stay. That is all I can say. And there is nothing wrong with that.

What does Lay Down Rotten have in store for the coming weeks and year as a whole?

The aforementioned tour with Massacre is one of the highlights we look forward to. Then we will play festival gigs as many as possible and we just released a fantastic video for the song The Fever. Check out our YouTube channel and get smashed.

Thank you again Jost for chatting with us. A last thought to leave the readers with?

Support your local Death Metal scene and go to club gigs. There are many great newcomers out there. Please check them out and give independent music a chance. Check out our homepage for all the important news and our previous releases.

www.laydownrotten.com

Read the review of Deathspell Catharsis @ https://ringmasterreviewintroduces.wordpress.com/2014/02/10/lay-down-rotten-deathspell-catharsis/

Pete Ringmaster

The RingMaster Review 03/03/2014

 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

Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

www.facebook.com/pages/Acheron/128581467223407

9/10

RingMaster 26/02/2014

 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