Stuntman – Incorporate The Excess


    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 SLF013---hi-res-coverrevealing 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.


RingMaster 20/01/2014

 Copyright RingMaster: MyFreeCopyright

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

Infected Society/F is for Fuck You/Miserable Failure – Miserable Fucking Society Split


If you ask us, and I know you were going to, there are simply not enough compilations and spilt releases around these days to highlight and thrust upon the world the wealth of emerging talent out there. Luckily the seemingly can do little wrong at the moment Kaotoxin Records has the same mentality as they shove the Miserable Fucking Society Split release firmly down our throats with clenched passionate fists. Consisting of nineteen hate spewing tracks from three talented and angry French grindcore talents in the vitriolic shapes of Infected Society, F is for Fuck You, and Miserable Failure, the EP or should that be album, is a raging torrent of hardcore antagonism and grindcore brutality with a core of metallic vengeance. It leaves body and thoughts exhausted and passions riled through a trio of bands which maybe you will end up with a favourite from but all will leave a lingering welcome brand on the psyche.

First up is Infected Society with seven acts of barbarous intent. Formed by guitarist Fack (ex-Yyrkoon, ex-Drowning, ex-Decline Of infected societyHumanity, 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.

Both Definitely-Dead and Ultimate Slavery savage the already set in wounds with greater venom and predation, their notes and aggression pack like and just as vicious, yet especially in the second incitement there is a distraction from the carnivorous assault of irresistible grooves and hooks, though venom always wins out. This is in full evidence with the just plain ferocious Mentally Derange and the intensive pestilence that is Crack-Whores. Addictive and magnetic the second of the two is a major highlight of the album though surpassed, after the more than ok but underwhelming in comparison Life Eraser, by the excellent Raw Quad Orgy. Led in by thumping beats, and it has to be said that the drum and bass work on the tracks is exceptional, the track explodes into a tempest of abrasive ferociousness and rhythmic battering veined with grooves and virulently barbed lures which remind of Coilguns and Kunz at times. The most inventive and exploratory of their songs it is a stunning conclusion to their part of the split.

F is for Fuck You    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.

     Fuck Off is pure sonic and anthemic alchemy, making its initial persuasion as a brawling hardcore bred outrage before with a drop of its shoulder slipping into a virulently contagious dance of hypnotic devilry and sonic festivities. Already in control of the emotions the track then invites in a southern Pantera and stoner like blaze of seduction to run off smiling broadly with the passions. Easily one of the best songs heard this year it is one of those tracks which marks a band as a keeper.

With their offering completed by Firesky and The Bombing, two more songs that only impress with their raw and rapacious creative rabidity, F Stands For Fuck You declares themselves as one of the most thrilling and promising bands to emerge this year anywhere.

Made up of vocalist Bleu, guitarist/vocalist Rom Sanchez, bassist John Culbuto, and drummer Elvis Jagger Abdul Jabbar, Miserable Failure doMiserable Failure 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.

As the following even shorter red hot hellacious stabs the senses through the equally severe fires All Women Must Die, No More Friends, and None Shall Be Saved, Miserable Failure leave no doubt as to their promise and powerful craft but are given no favours by the production on their contribution which swings too far to the raw and caustic extreme leaving elements lost and almost toothless. In saying that, as they close with the acutely turbulent Inside Me you only want to hear more, just with a more understanding hand around the maliciousness.

     Quite simply the Miserable Fucking Society Split is an outstanding release bringing attention to three promising and impressive bands. What more could you ask for?

Full album now streaming at:

Infected Society 8.5/10

F Stands For Fuck You 9.5/10

Miserable Failure 7.5/10

Miserable Fucking Society Split 8.5/10

RingMaster 04/09/2013

Copyright RingMaster: MyFreeCopyright

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


Abraham – The Serpent, The Prophet & The Whore

Bringing probably the most caustic and violent experience you are likely to be exposed to this year, the second album from Swiss metalers Abraham is malevolent beauty. Abrasive, corrosive, and at times verging on physically unbearable for sure, but at the same time it is destructively beautiful and one of the best senses stripping pleasures to be unleashed and willingly endured in a long while.

The Serpent, The Prophet & The Whore leaves one numb yet smouldering on the inside from the sheer might and force, let alone craft, at work within the violation. The band is tagged as post-hardcore/post-metal but as their second album shows there is much more at play. At times there is a sludge/doom smothering to entrap the listener, the thick oppressive weight of tracks a trap to sink into whilst the snarling and demanding rhythms donkey punch the senses and the flaming melodic sonic invention sears right through to the marrow, its acid presence fusing and extinguishing synapses. It is pure bliss with Abraham now one of the giants of extreme sounds as evidenced by the release.

From Lausanne, the band began working on short circuiting its victims from 2007. Hard work and the honing of their weaponry led to the eventual release of their debut album An Eye on the Universe in 2011, through Pelagic Records (who also release the new album), the label of Ocean guitarist Robin Staps. Critically acclaimed the band soon had Europe on its knees playing alongside bands such as Red Fang, Intronaut, Khoma, EF, Celan, Birds In Row, Mumakil, and Kruger. The Prophet, The Serpent and The Whore, an album inspired by a novel by J.G. Rawls, is the staggering successor and. The release is a tempest of emotions; despair, anger, hopelessness to merely scratch the surface, seeping from the eight songs and the lyrics freely adapted from  the story of an unnamed man falling from the sky to crawl through the lowest spheres of the world. Themes of falling from grace, primal fear, physical pain, loneliness and mystical visions stalk the release, Abraham exploring and bringing them forward to make a vivid presence and touch. Musically the sounds are as tortured and destructive as the lyrical content and intent, the combination upon this Magnus Lindberg (Cult Of Luna) mixed album, creating stark, bleak, and sonically pungent soundscapes.

First track Start With A Heartbeat immediately rips the air apart with astringent sonics and merciless beats. It is a slow salt rub upon the senses which elevates its energy to twist and crawl deep within the psyche. The vocals of Olivier Hähnel expel venom of varied shades watched over by the predator growl from the bass of Valentin Jallut. As the guitars of Jacques Viredaz and Mathieu Jallut blister flesh whilst simultaneously manipulating notes, their tight hold wringing every essence and passion from them, the song creates an abusive rapture which can only be welcomed hungrily.

Man The Serpent and The Great Dismemberment suck the light from the soul, their far reaching dark emotions and malicious sounds leaving the deepest scars and equal pleasure. The rhythms of drummer David Haldimann alone resonate through bone and when contributing to the cartilage shearing sonics and melodic thrashing elsewhere makes for the sweetest abuse. Both songs fire the imagination with their constricting breaths and scathing presences, the second of the two a cacophonous scalding which blisters the atmosphere let alone the senses. At times there is a Killing Joke flavour breaking through, predominantly in the vocals with Hähnel having a Jaz Coleman scowl, with this, the leaden bleed of This Is Not A Dead Man, Yet and the closer Dawn having the richest whisper.

The outstanding New King, Dark Prophet and the epic corruption that is Carcasses leave one grasping for a steadying surface whilst gasping for breath under their dehabilitating tempests. As mentioned the release is a challenge to thought and body but there are moments where one is taken to their limits. All the time though the musicianship and wonderful inventive craft is a raging burn to relish and draw rapture from.

The Serpent, The Prophet & The Whore is pure mordant majesty, a brutal beast which rewards time and time again giving new emerging treats with every confrontation. Abraham has taken their already impressive presence and creativity to further stunning inventive and violent heights for one of the albums of the year.

RingMaster 28/09/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.