An infernal noise machine with a brutality to match, French senses annihilators Stuntman unleash all of their intensive malevolence and sonic fury, and then some, with new album Incorporate The Excess. A pestilence of hardcore and noise ferocity, the seven track release is a carnivorous slayer of the senses and entrapment of the passions from a band no stranger to corrupting audiences since their formation in 2002. It is a provocation which maybe is the Sète quartet at its most venomous and violent yet on a release which takes a couple of tracks before fully seducing the passions but once into its stride is a ruinous onslaught which leaves ears and body wasted and the imagination not forgetting emotions raging.
With two previous albums, an EP and split, as well as numerous compilation appearances under their belt and more than 150 shows alongside five European tours where the band has shared stages with the likes of Coalesce, Russian Circles, Jucifer, Genghis Tron, Child Abuse, Kongh, Mumakil and many more, Stuntman have sculpted out a new depth of intensity with Incorporate The Excess. Released via Solar Flare Records digitally and as a 12” LP in addition to a CD release through Head Records and a cassette version through Lost Pilgrims, the album takes no prisoners, does not even allow them to raise hands in surrender, instead going straight for the jugular from its first full assault.
The brief intro Broken Mirrors Lacerate sets things off, its minute long mix of samples and random metallic sounds 
revealing little and offering not much more in the scheme of things. Once it steps aside for The Patriot, the Elite, the Icon the ferocious flight is ignited, the track a savage squall of ravenous riffs and rhythmic provocation scarred by the caustic vocals. The track grazes and scores the senses with a sonic rabidity aligned to a predation from the rhythms which is eye watering but equally it is a thrilling scourge which provides a familiar and unsurprising in many ways presence. Nevertheless the assault leaves a certain appetite wanting more which is duly delivered with the voracious Bag of Dicks, the vehemence drenched tempest another similarly driven and pleasing ravaging which like its predecessor is low on casting something out of the ordinary but unerringly hits the spot.
Everything changes and ignites though with the album suddenly exploding into another kind of beast through firstly the rapacious tsunami of vicious contagion and groove fuelled animosity that is Horn of Misery. Its initial touch is a writhing swamp of sonic causticity and rhythmic violence merged into a senses smothering wall of hate. Once intensive virulently addictive grooves break free to entwine and seduce with the strongest acidic toxicity and rhythms provide a dislocated dance of barbaric enterprise, the song becomes an irresistible magnet of magnificence, a strike taking the release up numerous levels soon matched by the plateau reinforcing Roll the Skull. Snarling and nagging as it works over the senses with thunderous drum assault and acutely incisive and niggling riffs whilst the bass finds a greater delicious guttural predatory tone adding extra texture and snarl to its malevolence this time around, the track is a full on vat of intensive persuasive . Less pronounced but just as epidemically infected, grooves again steer the song deep into the imagination, their flailing arms wrapping unerringly around the passions and now unbridled hunger coated in greed for the release.
The following Chaos Shepherd is a two minutes all out malicious antagonist, riffs and rhythms brewing up a pestilential onslaught which corrodes and suffocates with its blistering and hellacious anger. It makes the perfect softener of the senses for the closing eight minute slab of intensive severity, Scarecrow Warfare. The track is like a heavy plundering dark leviathan putting everything else in its shade with a towering tirade of riffs and ponderous concussive rhythms speared by discord coated sonic swipes. The track stalks and preys on ears with a bestial carnality to its intensity and uncompromising savagery to its seductive weaponry. An instrumental which you would imagine might outstay its long provocation, the track is a synapse drowning, passions igniting slab of heavy-duty sonic alchemy from start to finish and quite scintillating.
It might take a couple of tracks to explode but Incorporate The Excess turns into one dangerously addictive and merciless treat. Stuntman takes noise and turns it into the most lethal seduction which makes their new album overall one frighteningly toxic temptation you only want more of.
https://stuntmannoise.bandcamp.com/
https://stuntmannoise.bandpage.com/
8.5/10
RingMaster 20/01/2014
Copyright RingMaster: MyFreeCopyright
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Humanity, ex-Burgul Torkhaïn, ex-Ashura) and vocalist Brédin (Decline Of Humanity, ex-DSK, ex-Tridus Elasticus, ex-Altered Beast) in 2010, the band has already impressed and set out a formidable stature with the also Kaotoxin released Get Infected EP of last year and another spilt, Snuff Fetish Infection earlier in this. Their contribution to this release is as uncompromising as ever and arguably their most vicious and corrosive presentation yet. From the opener Old-School Traditional Butchery, the title telling you all you need to know, the band let rip a furious creative maelstrom which buckles knees and has synapses weeping. The first song is a torrential shower of crippling rhythms and devastating riffs speared by flesh failing sonic malice and grinding grooves which strip layers and skin from the senses. With an equally malicious dual vocal attack it is a mouthwatering blood curdling introduction which only is a portent of what is to come.
Next band up is F Stands For Fuck You, and it has to be said the band right away kidnapped the passions and emerged as our clear favourites on the release. Making their recording debut on Miserable Fucking Society Split, the St-Etienne trio of drummer Kevin Foley (Sepultura, Benighted, Nervecell, Mumakil, The Seven Gates), vocalist Adrien Guérin (Benighted), and guitarist Alexis Lieu bring an inventive and scintillating breath to a central grindcore heart. From the growled squall of vocals marking the start of Zero, the song twists and writhes with imagination and lethally infectious hooks and grooves driven by excellent rhythmic enterprise and skill of Foley. The track ignites a ‘light-bulb’ in the passions almost instantly and has them celebrating something fresh and magnetically compelling. Thrusting waspish grinning grooves through the ear from the start before roughing up the same victims with bruising intensity and desire, Sound Of Nothing continues the impressive offering from the band before both Fit and the sensationally riveting metal cored The Dead Men stomp and rampage on a swollen appetite with further furies of creative ingenuity and lung sucking energy. Debatably more hardcore than grindcore for these tastes with the band reminding at times of Irish bands Gacys Threads and Lantern For A Gale, both tracks set up a greater hunger which is immediately satisfied by the best song on the whole release.
not worry about making gentle introductions, well gentle anything as their five slices of rabid violence soon show. The Marseille quartet is pure anger and vitriol which pours uncontrollable from their first track Summoning Chaos right through to the last. The song opens with a menacing spoken vocal upon a slowly dawning ambience though it has no time to take hold as the band expose a heavy handed oppressive breath and launch into two minutes of unbridled sonic and vocal animosity. It is a nasty destructive confrontation which leaves senses and thoughts running scared and satisfaction widely awoken.
