Burial Hordes – Incendium

burial hordes cover art

    Spiritually dark and sonically ravishing, Incendium the new album from Greek black metallers Burial Hordes is a captivating tempest of threatening imagination and corruptive craft which leaves the deepest satisfaction in its venomous wake. A release which at times makes you work for your rewards but perpetually intrigues and excites with unpredictability and incendiary adventure, the album easily fulfils and satisfies the anticipation which brewed for its arrival. There are moments which slightly labour alongside other towering and scintillating offerings on the album but from its first toxic note to the very riveting last, Incendium is a recommended immersive treat.

     Since forming in 2001, Burial Hordes has earned a respected potent place within European underground metal. Two well-received and acclaimed albums in the voracious shapes of debut War Revenge and Total Annihilation in 2005, which received a re-release via Pulverised Records three years later, and its successor Devotion to Unholy Creed also in 2008 and again through Pulverised, pushed the band’s presence along with demos, subsequent splits, and further releases into greater awareness. Now the new Devo Andersson (Marduk) produced album is primed to take things to another level with a shift in sound and maturity which only puts the band under a spotlight.

    The first rapacious violation on the Hellthrasher Productions released album comes through Unleash Havoc, thumping beats and galloping riffs bringing the opener immediately into compelling view before a melodically honed sonic weave of imagination and skill paints an evocative and enticing invitation. Once secure in its mission the track explodes into a ferocious scourge of suffocating intensity and ravaging riffery driven by the malevolent guttural squalls of vocalist Cthonos. It is a predatory seduction which enthrals without making grand hook gifted gestures thanks to the persistent, almost nagging, and inventive guitar and bass craft of N.e.c.r.o and Psychaos.

    The strong start is soon cemented by Horns of Consecration, its entrance also a scourge of pestilential energy and vocal spite but with an even stronger expectations avoiding exploration to its intrusive design. Like its predecessor the song is not setting down raging flames in its corrosive tracks but again provides a tumultuous engagement of invention and enterprise which seduces and grips the fullest attention whilst raising a real appetite from thoughts and imagination. That hunger is impressively taken care of with scintillating endeavour from here on in, starting with Nailed Curse. From its first breath a groove is dangling irresistible bait from its lure whilst a rhythmic barracking only weakens and absorbs any possible resistance. A stomping provocation with the strength of a battalion and ingenuity of an alchemist, the track casts a maze of twists and detours within a riveting expanse of fierce atmospheres within an annihilistic evocation.

   Both Path of Bloodshed and Abomination keep the album foraging senses and thoughts on this new lofty plateau. The first combines melancholic and cantankerous emotiveness into a slowly pervading and consuming temptation which seduces and menaces simultaneously whilst unveiling an ever increasing and infectious weave of barbed melodies and caustic grooves. Insatiably addictive the emotional entrapment is soon exceeded by its outstanding successor, again bold adventure and virulent grooves adding potent temptation and thrilling enterprise to the niggling black hearted incessant call of the song. The best slice of deleterious mastery on the album, it sparks greater rabidity in the appetite for the song and the release itself which the emotionally intensive Scorned (Aokigahara) reaps. Near on eight minutes of scholastic teasing, injurious sonic adventure, and mouthwatering ruinous majesty the track is a gloriously evolving and investigative aural examination of theirs and our imaginations. It is epidemically contagious at times and ominously malignant in others to match the previous imperious peak on Incendium.

    Black Shrouds of Depravity and the album’s title track almost come as an anti-climax having to follow the stunning quartet of tracks before them. Both are impressive and uncompromising slabs of blackened pestiferous excellence but more straightforward and direct without the spark of adventure which elevates the previous treats. Nevertheless they complete an impressive and commandingly satisfying provocation with a centre which sparks up moments of rapture in return for their brilliance. Burial Hordes has turned into one of the new essential investigations within modern black metal and Incendium the undeniable reason why.



RingMaster 22/01/2014

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The Pete Flesh Deathtrip – Mortui Vivos Docent

TPFD Photo1

Mortui Vivos Docent is not an album which set the passions into certain fervour but there is something about its crawling insidious touch and lingering fetid presence which leaves a need to share its venom on a constant basis. The new intrusion from The Pete Flesh Deathtrip, the album teases, taunts, and violates the senses but equally beneath its abhorrent breath there is a contagion of imagination and passion which is hard to deny. It needs time to make its persuasion, numerous plays we suggest, but the reward and enjoyment is there to devour even if the release probably will not make an impression on the year’s top choices.

Mortui Vivos Docent is the fourth release from the solo project of Pete Flesh (ex- Deceiver, Thrown, Maze of Torment), the previous three coming under the name Flesh. Using session musicians, notably here Micke Broberg for some of the vocals and Andreas Jonsson (Tyrant, The Black, Vinertand) for drums, the new album stalks cavernous halls of death metal with additional provocation of black and at times thrash metal. It is a heavy bruising and at times disorientating assault but one which is unafraid to challenge and venture into discord clashing ventures. Released via Pulverised Records and recorded, mixed, and mastered by Peter Bjärgö (Tyrant, Crypt Of Kerberos), who also provided all keyboard and piano on the release, at Studio Beast in Sweden, Mortui Vivos Docent is an album which takes you on the darkest fearful journey. One you will take to or not but one which has to be ventured.

Opener Fallen Bliss goes straight for the throat of the senses; prowling riffs and tightly reined grooves crowd and chase the ear Mortui Vivos Docent Coverwhilst the vocals of Flesh snarl and chew on his prey with strong and expressive spite. It is an immediate hook which only grips tighter the further into the track you are sucked, rhythms rampaging with the guile and might of a battalion of Roman guards and the guitar scoring air and recipient with fine sonic branding and insatiable enterprise. Whether there is anything new going on is debatable but undoubtedly the craft and aural bait offered is impossible to resist.

The following fire of The Eternal Dawn is a varied and adventurous escapade through rhythmic enticement and melodic shadows, its gait reserved yet forceful and presence heavy but seductive. The vocals break some of the almost sirenesque attraction once their serpentine clutches dig into thoughts but the song continues to burn as  sonic ash drifts over the brewing intensity and roaming intrigue. The groove is a great niggling addiction which only goes to lure the emotions deeper into the now fully fledged tempest of sound and provocation as the song continues the strong start, impressively passing the leash to the thrash charged furnace of aural rabidity, Crave the Fire. Bringing more variety to the album, the track has a predatory intent which demands and receives every ounce of attention, and though it does not quite ignite the rich responses as its predecessor it is a bestial swarm of animosity that leaves lasting satisfaction.

The excellent haunting nursery room ambience opening up The Suicide End immediately marks the track as a must submerge within encounter. Doing so will leave you open to inner demons incited by the chilling textures and pit spawned malevolence lurking within every note and imaginative turn of the song, but it is worth the intrusion of the psyche.  Like the album it is a track which needs plenty of attention to truly discover and immerse within but another which drapes pervading fear over thoughts and emotions for a thrilling experience.

The intensively vexatious Burning Darkness and the blackened Ravens Reborn continue to hold attention firmly whilst the ravenous God of the Crawling Whore takes its pound of flesh from the senses with a brutality and sonic web that is inescapable. The trio do fall below the previous high standards, not by much certainly with the last of the trio, but arguably the element of surprise and originality within the album is lost at this point, though all only leave a wealth of satisfaction that is impossible to dismiss. Bleed which features additional vocals from Cecilia Bjärgö (Arcana) does stand out as a pinnacle on the release, its gothic temptation and absorbing presence evocative and thrilling.

Closing with the more than decent thrash sculpted Recycle My Death, the dark themed lyrically and aurally Mortui Vivos Docent makes for a compelling provocateur. It is irrepressible in its hunger and captivating in its imagination, making for a striking confrontation. Maybe not the release to thrust The Pete Flesh Deathtrip firmly on the death/extreme metal map it is one which will raise awareness for sure.



RingMaster 25/07/2013

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Quest Of Aidance – Misanthropic Propaganda

Quest Of Aidance Photo1

From its opening instrumental, Misanthropic Propaganda, the debut album from Swedish metallers Quest Of Aidance towers over and brutally palms the senses into an enterprising torrent of extreme provocation, a journey which leaves you captivated inside yet numb on the surface. Combining grindcore with melodic death metal whilst adding plenty of other flavoursome essences into its stirring ferocity, the release is a confrontation that does not smash through existing boundaries for extreme metal but certainly at times gives it a damn good prod.

Quest Of Aidance was formed in 2004 by guitarists Christian Älvestam (Unmoored, ex-Scar Symmetry, Miseration) and Christian Lundgren (Miseration, Carnalized). Soon a quartet the band recorded their debut demo Human Trophy the same year which took them to the attention of Roy Yeo, the label manager of Pulverised Records. This led to the re-release of the demo as the Fallen Man Collection two years later with the Dark Are the Skies at Hand EP coming the following year. Line-up changes over the years have undoubtedly helped the band hone and evolve the sound found on the early releases into the predacious triumph that is Misanthropic Propaganda. Created by vocalist Daniel Valström (Syconaut) alongside Älvestam and Lundgren, with guests musicians like Patrik Gardberg (Torchbearer, Solution .45, The Few Against Many), Oscar Nilsson (Miseration, Saint Daemon, Despite) and jazz guitarist Johan Randén adding their skills and invention into the mix, the again Pulverised Records released album marks the band as a major emerging force which if not now, ahead will be setting new levels for others to contemplate and emulate.

Opener A New Storm Rising is a dramatic and cinematic heralding of the album, its rising walls of intensity and sound sculpting Misanthropic Propaganda Coverthe sense of an imposing ominous force about to launch itself upon the body. The piece is gloriously crafted and presented, an evocative intimidation wrapped in sonic beauty to start off the science fiction themed and inspired album. Once it has coloured the imagination the track evolves into the carnal ferociousness of Seething Voids, the track a burning volcano of raptorial riffing and rabid rhythmic confrontation driven by a sonic storm veined with irresistibly compelling grooves. Though a mere two minutes in length the track is devastating and addictive with the excellent bruising vocal squalls a menacing persuasion to compliment the already contagious bait.

Both Deadly Viral Strain and To No Avail thrust the release instantly to another level, the first an intoxicating tempest of lethal rhythmic bartering with the ear alongside a suffocating riff driven intensity. The song as so many on the album is not satisfied with a one dimensional attack, shifting and twisting with slight progressive teases and impacting industrial flames within the ashes hot annihilation. Its successor unleashes a wholly addictive groove from its opening seconds, its call and grip squeezing tighter and tighter until the blood drains from the ears. Grievous and animalistic in its hunger, the track is a delicious grinding aural explosion with a murderous sonic breath and openly severe thirst to ravage its victim.

The progressive fire which marks the entrance and guitar enterprise of Section 34 shows further that band and album has an arsenal of invention to keep the listener and songs fresh and for the main unpredictable, and though the track does not light the passions as strongly as the previous songs its drama and sonic pictorial leaves mind and imagination bursting with visions and interpretations. Anyx too in its air shattering viciousness inspires stark images of destruction though as it is only a sub one minute presence these are fleeting thoughts once the equally sadistic Dimout expels its death metal cored creative cruelty.

Each track on the album impresses in their individual ways to similarly varying degrees with both the truculent yet openly seductive Red Dust where riffs, vocals, and rhythms scintillatingly chew up the senses whilst keys sooth the wounds with delicious beauty, and the carnivorous venom caked Spawnlayer standing alongside those earlier glories as major highlights. The pair shares an invention which is draped in jazz and progressive ingenuity though it has to wait for its place in the maelstroms of sonic spitefulness and uses all of its imaginative resources to leave the strongest impression.

Misanthropic Propaganda is an outstanding album which continues to reward as songs like Sirian Breed with its epic bookending intro and outro and The 5th Column trespass welcomingly into the psyche. It may lack a little on originality at its heart which stops it being the biggest release of the year but feeds every need and more with its undeniably powerful and fertile invention not forgetting violence.



RingMaster 23/07/2013

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October Tide – Tunnel of No Light


Bleak and intensive, consuming and compelling, Tunnel of No Light the new album from melodic extreme metallers October Tide is a dramatic senses encroaching encounter which leaves a residue of exhaustion and deep satisfaction within the listener. It is a hungry and extensive journey of doom sculpted death metal malevolence, a vehicle for suffering and defiled hope to spread venomous beauty and overwhelming intensity through a magnetic and destructive embrace.

Formed in 1995 by Jonas Renkse and Fred Norrman after a temporary dissolvement of Katatonia, the band soon gained string and widespread recognition for their albums Rain Without Rain and Grey Dawn in 1997 and ‘99 respectively. Despite their success and the strong acclaim upon them especially the second album, which saw Mårten Hansen of A Canorous Quintet replacing Renkse on vocal duties, the return of Katatonia meant the band was put on permanent hiatus. 2010 though saw October Tide return to the studio with the resulting Candlelight Records released A Thin Shell, a heavyweight expanse of seven doom-laden intrusions produced by Jonas Kjellgren (Scar Symmetry) which whipped up again impressive responses from fans and media. The departure of two members last year saw the addition of bassist Mattias Norrman (ex-Katatonia) and vocalist Alexander Högbom (Volturyon, Spasmodic) alongside guitarists Fred Norrman and Emil Alstermark, and drummer Robin Bergh, the quintet soon after beginning the recording of their fourth album, again with Kjellgren.

The Pulverised Records released album encroaches on the ear initially with a deliberate prowl and weighing up of the victim with thePromoImageCAO2B74X start of Of Wounds To Come, guitars and rhythms probing and provoking with fiery breath but restrained energy. Sure of the target they relax into an elevated but still lumbering stance as riffs and vocals abrase the air and an underlying persistent niggle offers its understated temptation. Into its stride the riffs sculpt an intensive melancholic breath with leviathan features whilst the drums and bass continue to stalk with intensive mass and intent. The landscape of the confrontation compellingly shifts and continues to paint a sonic narrative whilst the emotive depths of despair and forlornness are heightened with each passing potent second. It is an impressive start employing thoughts and most of the senses whilst its death metal coursed surface thrust at times belies the invention beneath whilst equally framing it.

Our Constellation opens up with a ‘lighter’ progressive air, the guitars once again designing an impacting setting for mind and passions to decide the narrative whilst the punchy rhythms of Bergh are crisp and resonating to coax further incitement. Like its predecessor the track has no fear of evolving its presence and stretching its imagination though arguably it prolongs its presence too much to defuse some of the achieved impact. Both Emptiness Fulfilled and Caught In Silence continue the strong capture of attention and its approving reception, though certainly with the first fail, to spark the strength of reaction as the previous two. The second of the pair presses firmly whilst allowing its richness of melodic enterprise to flame brightly and engagingly within the smothering intensity for a rewarding and striking union, and again dynamic presence.

Admittedly across the many tracks there is a strong surface familiarity which defuses the individuality of the songs and a less than adventurous heart to their sombre and sobering grinding doom fuelled persuasion, especially notable in the likes of The Day I Dissolved and Watching The Drowners, but when there are songs such as previously mentioned Of Wounds To Come and Caught In Silence as well as the twisted invention and biting ruin of In Hopeless Pursuit and the blackened beauty of Adoring Ashes, both songs closing the album, it is impossible not to be enticed into the depths of the album on a constant basis.

Undoubtedly for fans of bands such as Katatonia, Daylight Dies, and In Mourning, Tunnel of No Light continues the strong and welcome return of October Tide just without really sparking any major fires inside the passions this time around..



RingMaster 18/04/2013

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Necrocurse: Grip of the Dead

    Necrocurse 2012 photo

    Listening to Grip of the Dead, the debut album from Swedish death metallers Necrocurse you just know some critics and genre fans are going to say we have heard it all before, and though arguably a hash statement you can understand the source of their stance, the band reaping and blossoming already in place seeds sown from the first harvest of the genre, but equally the album is a devious instigator of contagious grooves and impacting insidious devilry which makes the final forceful persuasion in its favour.

The seeds and beginning of Necrocurse began in 2004 as an unofficial project but it was in 2009 that things seriously caught intent with the coming together of a full line-up. Driven by current and former members from the likes of Nifelheim, Swordmaster, Runemagick, Sacramentum, and Deathwitch, the band recorded songs which emerged as a couple of 7″ vinyl EPs on Norwegian label Aftermath Music in 2011, Chaos Carnage Cataclysm and Insane Curse Of Morbidity. A third EP Speed to the Grave appeared a year later as did Shape of Death a collection of tracks re-mastered from the previous releases. 2012 saw the band step into live arenas and making impressive appearances at festivals such as The Gates Festival (Norway), Kill-Town Death Fest (Denmark), and Metal Legacy Festival (Sweden). That September the band ventured into the studio to record their first album alongside Andy La Rocque (King Diamond) with the resulting Grip Of The Dead now having its released through Singapore label Pulverised Records.

There has been a brewing anticipation for the album within the genre and certainly the release does not disappoint even if maybe it M:CAD DrawingsDelgaDelga standard templatesBookletsCD_DPS1fails to reach the rich potential hoped. From the opening Preludium of Devastation, an evocative intro of war, devastation, and scene setting enticement, the album erupts with captivating strength with Necrocurse, a track which immediately lights the senses with fiery guitar temptation, careering drums, and ravenous riffs. The acidic squalls of vocalist Hellbutcher  take a little getting used to but come in caustic waves to temper the initial encounter. They are not the most accessible tones to devour with greed but against the great group vocal efforts and the infectious grooves which break out make a riveting contrast. It is an impressive full opener with the guitar invention and lures of Stefan Rodin and Martin Andersson especially enthralling.

The following Rotten in the Dark and The Devil Cobra bring their individual vicious sonic encroachments with a certain sadistic relish, the first most powerfully through again compelling guitar engagement and uncompromising beats from drummer Nicklas Rudolfsson. The track bristles with contempt and malice whilst at the same time magnetising the senses with its delicious grooved hooks and persistent hungry breath. The second of the pair niggles away at the ear with abrasive drone seeded riffs at first before turning into a maelstrom of unrelenting rhythms, with the bass of Johan Bäckman prowling throughout the storm with menace and heavy intent. Though the song slips below the standards already set it is still an engrossing and contagious encounter with again only the vocals testing patience and acceptance, though Hellbutcher never ignites abhorrence or the wish to move on.

Though tracks like Ripping Darkness (The Destroyer) and Death Metal Rebels hail to spark any strong responses to their certainly accomplished and inventive violations there are veins of imagination and corrosive malevolence which ultimately win the day and opinion. Further thought and emotion grabbing highlights emerge through Speed to the Grave with its carnivorous intensity and shifting gait of blackened heavy metal fury and grooved death metal hunger and the ferocious title track. The song burns and pillages the senses with another weave of classic and death metal savagery and enterprise which ignites the passions into a brawling co-conspirator to malicious mayhem and satanic primal lust. Both songs provide the ammunition to declare the album as an impressive and inciting force which as mentioned is not thick with originality as such but a release which  is impossible not to admire and fall in league with emotionally.

Closing with further ardour grabbing tracks in Coffin Breakers and Infernal Rebellion, the album leaves a strength of satisfaction and pleasure which is not up for debate. Grip of the Dead may not figure in best of lists but certainly will be a release receiving plenty of deserved attention.



RingMaster 22/03/2013

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Reaping the exterior: an interview with Håkan Stuvemark from Skineater


With aggressively sculpted malice borne from its charnel house of blood drenched intensity and bone splintering violence, Dermal Harvest the debut album from Swedish death metallers Skineater, is an impressive and savage pleasure, a release which is equally viciously antagonistic and carnally satisfying. It is an introduction for most to a band which since forming in 2008 has instilled a primal rapture and acclaimed driven attention within a great and growing many. Seizing the opportunity to find out more about the band and its first album we had the pleasure of talking with Skineater founder and guitarist Håkan Stuvemark.

Hi Håkan and welcome to The RingMaster Review, thanks for talking with us.

Hi, it’s always a pleasure!

For those still untouched by the Skineater aggressive scourge of sound tell us about the beginnings of the band. Are we right in thinking the band was a slow moving thing for the first couple of years? What was holding it back from fully emerging or was it an intentional thing to get your sound right?

Yes, you could say we were slow moving, mostly of natural causes .In June 2009 Jeramie Kling and I recorded two songs, He Was Murdered and Dismantling, Which you find as the first two tracks on Dermal Harvest. We had them finished in September or so and sent to a couple of labels and two of them were interested but unfortunately money is an important detail overall more or less, especially in this case with Jeramie in the U.S and me in Sweden. However we worked on that issue every now and then with labels over quite some time and coming to that was kind of long time with no action, loss of great enthusiasm without losing interest though!

What was the driving intent for the band when it started?

It started when I played bass in Vicious now known as GrandExit. I hadn’t played much at all for some years, practically nothing until I joined them in 2007. Autumn 2008 we recorded their third album which I’d written a song for and it was during the recording of that song when I played the guitars etc. I woke up and Hey! This is what I’m supposed to do and I can do! I had found myself again! So that’s what drove me and still is driving me. I left the band a couple of weeks after and intensively writing songs and as you’ve heard it ended up brutal!

2011 saw Carnal Forge and In Thy Dreams drummer Stefan Westerberg join to take bass duties in Skineater, was this arguably the point the band found its impetus to move forward and break free of restraints and recognition shadows?

We had in mind to be become a five member band but as I said earlier “long time with no action……..” Stefan and I got in contact February 2011, he wondered if we needed a bass player. Yeah, sure! Then he was on board. We knew each other since we both played in In Thy Dreams. He was the addition needed, new blood in the band, new energy, another mind.

The members of Skineater have some impressive pedigrees and experience band wise between them; can you give a quick run-down of their histories before the band?

The Swedish metal inbreed haha. Well, the most essential bands of each one of us:

I (Håkan): Wombbath, In Thy Dreams, GrandExit (ex-Vicious)

Stefan: Carnal Forge, In Thy Dreams, Steel Attack, 8 Foot Sativa

Matte: Defleshed, Dark Funeral, Sportlov, Raised Fist

Jörgen: The Mary Major

Kari: Mourning Sign, Amaran

The band signed with Pulverised Records for the release of your debut album Dermal Harvest, what did the label offer which drew you to them?389264_288275817916734_1801045964_n

Yes, we ended up there on Pulverised. About the new energy and blood to the band, when Stefan joined the two of us began chasing more deals and Pulverised showed interest and over some discussion with them and contract adjustments they had us. It fitted our plans, recording deals and all that. All seemed just fine!

Dermal Harvest we called a charnel house of blood drenched intensity and bone splintering violence, and though we felt it was not ‘re-inventing the wheel ‘, it was an impressive and savage antagonist which you can only devour greedily. How would you describe it to newcomers and are we fair with all our points?

I think you got it quite right! Groin crushing, cocky death metal in an excellent blend for everyone!

The album was recorded at various locations? Was this intentional or just the things which new bands have to deal with through finance and opportunity challenges?

It’s in many ways very practical, especially due to that we are living spread over Sweden. Would work for me as I live only 25 km from Västerås where the studio is but for Stefan and Jörgen it is 400-700 km’s one way. Economic disaster to commute. We recorded the drums in the studio and the other instruments at our own places then we sent it all to Studio Underground for re-amping, mixing and mastering.

Tell us about the recording of the album, and how long the release was in coming alive from its first seeds to release.

I think we can refer a little to the previous question about the recording. However, the recording began in August 2011 when we recorded the drums. Later, maybe in November I started to record the guitars, Jörgen had been working on the vocals for a while at that time. On top of that it was the bass, must have been February 2012 and last of all Petri Kussisto recorded his guitar solos in his studio and sent them to Studio Underground. The album was completely mixed and mastered in June that year and released in February this year (2013).

Did the album evolve much during the actual recording from the original demo ideas?

We had solid demo songs/sketches but we improved practically every song. There’s always something you wanna change, small details and new ideas coming up

From an impressive start Dermal Harvest for us built up song by song to its biggest triumphs and intrusive might. How did you go about setting the track order on the album, did as much thought go into that as say the production and the art theme?

We wanted to give the listeners a good album from start ‘til end so we listened quite a lot and spent some thinking over the tracks and order. It turned out very well!

Talking about the artwork, who created the excellent cover art?

Mattias Björkbacka made it. He also produced the video for the song Dismantling we recently premiered.

skineaterThe art depicts perfectly the lyrical and sonic predatory hunger and intensity of the album, did Mattias have sounds to work with, be inspired by first from you?

Mattias and I know each other so he’d heard more than one song for sure. He and I talked a lot about what the cover should look like, many ideas and details in the air. You know, one idea leads to another which leads to yet another and so on and this Ended up in perfection!

Is there a moment of the album which you feel is Skineater at its most potent, shows the purest breath of the band?

Only one and short answer on that…On every song!

What are your hopes for the album in the progress of the band and where are you taking it out live to share its glories?

That we reach out even more; get new fans which in their order will spread our word. We are hoping to get some live shows now. The album was released early which is good and festival shows would really be something. Of course other shows too!

Again thank you for talking with us. Any parting words you would like to offer?

Thank You! That’s the hardest question! -Spread our word folks in our way to conquer the scene!

Read the review of Dermal Harvest @ https://ringmasterreviewintroduces.wordpress.com/2013/02/21/skineater-dermal-harvest/

Interviewer Pete RingMaster

The RingMaster Review 21/03/2013

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Skineater: Dermal Harvest

    Skineater photo

    Rife with sabre sharp sonics and a carnal malevolence transferred through destructively precise riffing and viciously antagonistic rhythms, Dermal Harvest the debut album from Swedish death metallers Skineater, is an impressive and savage pleasure which leaves pure satisfaction and pleasure in its annihilatory wake. Arguably the album is not venturing into new realms but with its aggressively sculpted malice and charnel house of blood drenched intensity and bone splintering violence it does not need to be to ignite the passions.

Skineater was formed in 2008 by guitarist Håkan Stuvemark (ex – Wombbath, In Thy Dreams, and Vicious) upon leaving as bass player in GrandExit. Moving back to his main instrument he recruited drummer Jeramie Kling, drummer in The Absence, Infernaeon , and Ninety Minute, with the pair recording two songs the following year. It was not until 2011 though that the project found impetus with Stefan Westerberg  (ex- Carnal Forge, In Thy Dreams, World Below, and Steel Attack) taking up the bassist position in the band. Soon after signing with Pulverised Records with whom the album is released, the band expanded further with the addition of guitarist Kari Kainulainen (ex – Mourning Sign and Amaran), vocalist Jörgen Ström (The Mary Major), and replacing Kling, drummer Matte Modin (Raised Fist, ex – Dark Funeral, Defleshed, and Sportlov). Recorded at various locations with mixing and mastering at Studio Underground (Carnal Forge, Steel Attack, Fleshcrawl, Necrodeath) in Sweden, Dermal Harvest is an irresistible result of a group of veteran musicians unleashing a fresh and voracious passion and sound which has maybe been festering within over the years, such its organic and instinctive animosity musically and lyrically.

     He Was Murdered makes the first rapier like incision into the senses though its finesse only follows a bludgeoning entrance from Dermal Harvest Coverriffs and rhythms  with vocals squalls casting acid on the ear like venom filled cluster bombs. With a slight aside in energy for the guitars to seep their own tightly weaved sonic  malevolence, the track forges a violent intrusion with blistering guitar play and crippling drums assaults menacingly accompanied by the delicious malefaction of the bass. It is a snarling brawling encounter which exhausts the energies whilst leaving one simultaneously enthused and ignited by primal intent.

The following Dismantling and Your Life Is Mine continue the ravaging assault on the person mentally and physically, both tracks raw and unrelenting in their abrasive animosity and unforgiving ferociousness. Like the opener they also entwine moments of sheer melodic beauty which are as unpredictable and rewarding as they are unexpected and warmly welcomed as some respite within the towering destruction surrounding them. The guitar play and invention of Stuvemark and Kainulainen is exceptional and their imaginative quieter melodic addresses sit perfectly within the tempests without any seam or drop in fluidity present.

In hindsight though immensely impressive and pleasing in their company, the first trio of songs are mere appetisers which certainly leave the listener enlivened but not as fulfilled as tracks like Made Of Godsick manage to achieve such their triumph. It is at this point that the album fully fires up its heart and furnace to wreak the strongest havoc and pleasure upon the person. The song is a riveting construct of quarrelsome fervour and burning invention which sows the deepest pleasures within. It is a mordant storm musically and in intensity equalled by the excellent and sonically rabid Through The Empire and then exceeded by the sensational Stab. This track strips, grinds, and seduces the senses and emotions throughout, its passage insistent, unrelenting, and sizzling with melodic flames, scorching imagination, and predatory hunger. The best track on the album it sums up the wonderful grotesque that is Skineater perfectly.

The rapacious, and perversely addictive Drifting is another major player of the passions, its greed and hunger musically and violently pure hellacious manna for the heart. Again it shows just how masterful and skilful the band is as individuals but also as a unit and combining the melodic side of the genre to outright volcanic metal fury.

Dermal Harvest is an exceptional release which leaves one smouldering contently under its aggression and quality, and also possibly whimpering. Yes it is not breaking new ground but it is using the essences of the genre in a way not many others can contemplate let alone employ. If the likes of Morbid Angel, Cannibal Corpse, Bloodbath, and Hypocrisy exploit your passions, than Skineater is a band for you.




RingMaster 21/02/2013

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