Hessian/Primitive Man –The Abyss Stares Back #2

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Continuing their series of split releases The Abyss Stares Back which began with the impression union of Amenra and Vvovnds in May; Hypertension Records unveil the second instalment of dark consumption with a two track union between Hessian and Primitive Man. The second of a planned five splits, The Abyss Stares Back #2 brings again exclusive propositions from the two protagonists, a pair of tracks which drag the senses and emotions through cavernous, insidious landscapes but with the sweetest toxic lures which feverishly ignite the imagination and fears.

With future releases in the series to include Nihill, Scott Kelly, Drums Are For Parades, Mathieu Vandekerckhove, and Alkerdeel, Hypertension has already set a gripping standard and presence for the series through #1 and #2, the newest a startling and compelling onslaught of virulent hostile seduction. As all in the series it is wrapped in the artwork of Tom Vanuytrecht and with the photography of Stefaan Temmerman, but consumes and envelops in its own unique voracity with frightening intensity and ridiculously easy success. Both bands on the release are united in the devil’s oppression whilst providing an individual merciless savagery and invigorating violation to maybe unwillingly but certainly rewardingly bask in.

Having been rigorously persuaded by their debut album Manégarmr, appetite and anticipation for Hessian’s contribution to the release hessian (pic Stefaan Temmerman)was keen and swiftly satisfied by the Belgian band and their track Inward Dawn. Consisting of guitarist Levy Seynaeve (of Amenra), drummer Tim Bryon (of The Black Heart Rebellion), vocalist Bram Coussement, and bass player Kenneth Vanhoutte, the quartet threaten as they lumber in upon heavily punching rhythms and a sonic web of antagonism. It is a disarming sweep of sound and confrontation lorded brutally over by the vocal causticity of Coussement but one which swiftly enslaves the passions through the rolling and inciting drum enticement of Bryon. Like a puppeteer he directs and cages the imagination so the scorched sonic endeavour of Seynaeve can layer web upon furious web of deviously captivating and searing design. The repetitious lure of the track aligned to the rapacious rhythms is the prime bait though; it’s intermittent enticement the irresistible spine to which emotional enmity and aural chastisement explores their rich potency and hostile animosity. Gloriously insatiable and contagiously persistent, the encounter is a fall through the depths of organic persuasion, a sirenesque anthem come hymn to the primal core of body and emotion. The track is pure addictive venomous alchemy, Hessian reaching deeper into their rapacious ingenuity than ever before for a seriously hypnotic and ruinous triumph.

primitive man   Primitive Man swamps the senses in a darker corrosive tsunami than the pestilential but voraciously mesmeric suasion of Hessian, though neither you would trust with your soul. Their track Unable takes mere moments to invade and permeate body and feelings, its lumbering sludge tar coating senses and thoughts with suffocating efficiency. As shown on their impressive debut album Scorn, the Colorado trio of Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy, venture into the lowest, base primal sounds and provocation, unleashing sonic swarms as lethal and disorientating as the destructive slab of slow rhythms and maliciously devouring intensity beneath. Similar to Hessian though, there is a potent lure of addiction forging enticement working away, warped grooves and anthemic rhythms breaking free just enough to entangle fevered appetite and eager passions with their riveting coaxing. It is often an understated but constantly infectious trapping within the malevolent corners of the song, a potent seducing for the same senses and psyche which are being unrelentingly worn away and viciously smothered by the doom entrenched pestilence. Closing on a brawling tempest of vitriolic energy and punk infused urgency, the track is a towering predator which easily draws submission for its hellacious fury.

Both tracks on the split are exhaustingly glorious, though of the pair Hessian has a toxin which steals body and mind for a truly lingering pleasure. Both also provide stunning introductions to newcomers to the bands and a raw hint of further things to come for fans, each breeding further waves of anticipation. Hypertension Records with their first two episodes of The Abyss Stares Back easily ensure the forthcomings offerings will be eagerly awaited, and with each split pressed on 180gr. vinyl for a one time only release of 500 copies, time procrastinating is the way to missing out on, certainly in the case of #2, one of the year’s finest essential releases.

The Abyss Stares Back # 2 is available now @ www.hypertensionrecords.com.

https://www.facebook.com/Hessianofficial

https://www.facebook.com/primitivemandoom

9/10

RingMaster 01/07/2014

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Primitive Man – Scorn

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As psychologically damaging as it is compellingly addictive, Scorn the debut album from US blackened doomsters Primitive Man, is a rewardingly intensive examination of the senses that has thoughts and emotions cowering before its malevolent rage. Seven tracks of intrusive, venomous sonic consumption, the release is in no way an easy listen, its uncomfortable intent and presence devastating in the extreme and corruptive in it ‘lighter’ moments, but throughout there is a lure and niggle which just will not let go of captivation and excitement.

Hailing from Colorado, Primitive Man was formed in February of 2012 by Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy (current and former members of Withered, Clinging To The Trees of A Forest Fire, Death of Self and Reproacher). Creating an invasive sound bred one suspects from the darkest malevolent corners of the psyche, the band opened up awareness with the initial release of the album last year and then a self-released demo, but it is now with its full release via Relapse Records that Scorn will surely expose the strongest hidden fears of the world to torment and soundtrack. The founding trio (Kennedy having since having left the band after the album recording and replaced by drummer Isidro Soto) take no shortcuts to the inner most depths of mind and senses, each track a crippling but rewarding expulsion of peace and safety which breeds the most potent post-apocalyptic, post sanity expanses of noise and atmospheres.

The title track wraps the ear in a sonic rub of sinister and persistent heat before collapsing into a lumbering intensive prowl of doom scorn_1500drenched black metal seeded incivility. Sculpted from a thick sludge dripping web of roaming inciting rhythms and corrosive guitar enterprise, the track is as caustic as industrial lime upon the senses and as provocative as the blackest claustrophobic night towards thoughts and emotions. Menace soaks each labouring predacious note whilst the sonic croon of the track flays air and flesh with each insidious second.

The long devastating start is followed by Rags, a track which toys with the mental debris reaped by its predecessor with another leaden crawl of slow voracious riffing and rhythmic caging immersed in a weight of intensity which alone suffocates the senses. The bass finds a ruinous tone to its growl to add to the barbarous snarl within the infernal smothering but all along there is again a sonic temptress to the sound and niggling enticement which coaxes the heart of the burdensome assault and leaves passions hungry for more.

I Can’t Forget opens up yet another disturbing soundscape to be explored, its blood curdling ambience as cinematic in its touch as it is stifling and best described as the voice of rooms within Hostel that were too vicious and carnal to go near. The track is fuel to the imagination and in its own distinct chilling toxic way as ravenous on the psyche as the previous tracks and its successor Antietam, nine minutes of excruciating vehemence cast through a captivating mesh of enticing melodically blessed sonic temptation and thunderous drums coaxed by the continually impressive bass growl and the guttural vocal severity, which throughout the album brutally and impressively narrates the hellacious maelstrom honed heart of the release. Unpredictable and wholly riveting as it twists from and in to itself, the track is a fearsome venture which alone makes the album a must hear proposition though not one for many to be undertaken alone.

Undeniably the best track on the album it is surpassed in favourite stakes by Black Smoke, a piece that reflects the listener’s  gasping for breath up to this point whilst sending additional sadistic hauntings through the ear via evil bred whispered voices and their reserved yet bedlamic persistence. Like I Can’t Forget the track opens up a wealth of thoughts and imaginary scenarios to almost mesmerise its recipient into its clutches before passing them on and into the jaws of Stretched Thin. A blur of grind, hardcore, and thrash like tendencies crafted into a swarm like wrap of sonic distrust and metallic barbarity, the track is a scintillating blizzard of sonic bait and ravenous metallic scalding leaving the senses alive yet  severely damaged.

Closing with Astral Sleep and its impossibly slow heavy riffs and intense plodding rhythmic feet, Scorn is a scathing pungent delight which thrills and pleases just as evenly as it hurts and punishes. Primitive Man will not find a home in the hearts of melody driven fans for sure but within extreme metal they and their album are one richly satisfying grievous encounter.

www.primitivemandoom.com

8/10

RingMaster 20/08/2013

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