The Devilzwork – A Dead Horse

the devilzwork pic

Australian industrial metallers The Devilzwork set senses and fears cowering last year with their album Floodlights, a carnivorous sonic pestilence which gnawed and seduced the emotions with lethal  yet compelling severity. Now the band returns with its successor A Dead Horse and another tempest of virulent devastation hell bent on consuming and reshaping the synapses.

Hailing from Australia’s Capital Region, the 2009 formed quartet of guitarist Whiskey (also in Chud), vocalist/bassist Tobias, guitarist Kvlt and drummer Postal, has built an incendiary reputation across the regions of Melbourne and the Australian Capital Territory with their impressive live shows which has seen them stare stages with the likes of Voices of Masada, MzAnnThropik, Tim “The Ripper” Owens, and Mnemic. The self-produced demo Bad Moon Rise equally sparked concentrated attention though it was the eight track release Floodlights which stretched the bands presence much further afield as certainly an online presence and temptation. Now A Dead Horse is primed to accelerate that growing awareness. You suspect such its harsh and caustic devilry that the release will send as many running for the hills as finding those unable to resist its scourge driven charms, but if unbridled spite coursing corrosion is your idea of a treat than The Devilzwork has a nasty rewarding one lying in wait.

Opening track Obey The Worm… immediately scorches the ear with a sonic piercing before riffs and rhythms conjure up a death metal 1016963_626992130646833_1762260211_nseeded malevolence. It instantly has the hairs on flesh wilting before its vicious blaze of noise rock/industrial ferocity with the great duel vocal attack driving the aurally scurrilous fire of sound to greater depths. From the first track alone you can openly see the evolution in the songwriting and intent of the band. Whereas Floodlights was one carnally bred lime pit of intensity and noise soaked irreverence its successor has a more defined purpose and invention to its claws. A strong spicery of metal and rock adds further potency and imagination to the song and as it emerges, A Dead Horse as a whole.

The outstanding Kalifornia comes up next, its confident swagger and teasing wantonness leaving a tasty flavour of horror rock to the Ministry sounding torch of sonic animosity. A twisting feverish taunting on the senses and imagination, the track despite its too soon coming departure is the first of the major highlights on the album and ultimately the best track.

The Godflesh/Marilyn Manson lilted Prick, a track with labour to its attack but captures the passions at a glance without any resistance, and the more electro venomous Big Man follow to continue the strong start of the release if without quite matching their predecessor whilst the insidious corruption that is Hardware suffocates and invigorates simultaneously to ignite the mind and emotions. Bringing an acidic blistering groove which would rest easily in a Kyuss/Queens Of The Stone Age rage, the track pushes the diversity of the album yet again. Admittedly some work is needed to unveil some of the unique rewards to be found within the songs beneath the surface severity and taking that plunge head first only rewards all the more. The previous album was debatably short on individuality between songs in hindsight but there is certainly no issue with A Dead Horse as each track reveals given close attention.

From the pernicious Corrosive, a more than decent track which is as its title suggests, and the dark intensive exploration Vast, the album reaches another pinnacle with Insect. Thumping rhythms open up a cage of virulent toxicity, a wash of sonic itching wrapping the skin whilst vocals and restrained electronics rattle the bars and another epidemically addictive groove frequents senses and passions. The track will have you scratching the brain and emotions for hours after whilst the short burst of instrumental after its departure soothes the sore need.

Enthralling expels a raucous heavy rock fury, vocally and melodically, within another breath and atmosphere of poisonous sonic mercury to again push the envelope of invention whilst Virus Installer is just a rapacious pathogen of angry and malicious noise honed into a riveting protagonist. Both leave the senses exhausted and wondering what hit them yet thoughts alive with interpretation of their magnetic intensity.

Concluded by the tender, well in comparison to what came before, Push Yourself Around and the sinister soundscape Desolate, the album leaves a hunger for much more. The first of the final pair has a scintillating toxic swing to its pestilential might whilst the closer is just an evocative passage of sound and menace which leaves the mind exploring its own black corners. Both add further absorbing ventures to A Dead Horse, an album which shows no mercy but strikes with an intelligently sculpted persuasion offering depths of melodically spawned venom. With only the shortness of some of the most enthralling violations a niggle, the album is an impressive leap forward for The Devilzwork and a must investigation for all fans of the likes of Ministry, Godflesh, Rammstein, Marilyn Mansion and those of industrial and death metal… though are they brave enough though?

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8.5/10

RingMaster 10/09/2013

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TheDevilzWork: Floodlights

A release to crush skulls and overload synapses, Floodlights the latest album from Australian industrial rock band TheDevilzWork leaves nothing but wreckage in its wake. The album is an eight track corruption which violates and blisters every sense and emotion, an insidious aural decay using sonic manipulation as a weapon and evocative breath.

Formed in 2008 the band was soon firing up crowds across the regions of Melbourne and Australian Capital Territory, as well as releasing a self produced 11-track demo Bad Moon Rise. Shows supporting the likes of Voices of Masada and MzAnnThropik increased the awareness and following for the band, which with the release of Floodlights and some deserved fortune should see greater acceleration in its growth.

The album is a devastating tempest of industrial terrorism brought with malicious strains of diverse agitations from metal and death metal to harsh EBM and cyber crust. The result is as venomous and dangerous as the band name suggests and just as diabolical.

The opening Monochrome immediately seduces and obliterates the ear, its crunching march a delicious intrusion and the melodic whips of sound it unleashes an acidic wash of pleasure. Sounding like a fusion of Sepultura, Young Gods, Suicide Commando, and Skinny Puppy distilled through a sonic wind tunnel, the track ruptures the air with pure abrasive intensity. It is as hypnotic as it is caustic and leaves the senses pulsating and smarting in raw pleasure. The vocals of Tobias and Nailhead crawl and scrape the edges of its recipients as keenly and deeply as the sounds, making for a fully impactful and addictive pleasure.

The following Bulldozer continues the assault with equal heavy malice, its grasping grip twisting and pulling the senses in every direction whilst its overall presence rubs its serpentine sonic salt into the already opened wounds from its predecessor. The vocals rasp and strip the air of any safety whilst the sounds and beats consume with rabid intensity and spite.

The album continues to show no mercy on its victims but does pull back on the oppressive assault with Machine Says No, though it is only for its opening breath. Into its full rampage the track is like a fetid brewing storm devouring every pore, its energy a burning touch to leave further scars of delight. The album like the track is a raging fire of noise and demonic passion which gives equal pain and greedy content.

Through the likes of the sonic bleed that is The Pit and the corrosive instrumental Gibbet, the release explores and unleashes further devastating soundscapes of misery, malcontent and gratification. With acidulous grooves and even stronger ruinous energies the album is not an easy listen at times and one which many will fall before by the time the release is only getting into its stride, but it is so rewarding if one survives its immoral spoils.

With the early Killing Joke/Ministry like Scab and the treacherous melodic seduction of Hive continuing the staggering heights of the opening pair of tracks, the album ignites only deep satisfaction. Every track on Floodlights is staggering and though some steal the highest platforms of acclaim, as a whole the album is a white hot scorching grazing to revel in, and a sonic storm which shows TheDevilzWork as a band where no sound or emotion is off limits to deconstruct and twist to their own sadistic intent.

https://www.facebook.com/thedevilzwork

RingMaster 03/09/2012

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