Direwolves – Aegri Somnia

direwolves

The hardcore scene has already impressed in 2014 with a ferocious flurry of rigorously intruding and thrilling furies, hardcore based or driven releases from the likes of Havenside, Ringworm, and Axecatcher to name just three leading the way. Stepping right in front of them or certainly alongside, are a pair of Throatruiner Records releases, one from Plebian Grandstand which you can read about elsewhere on the site and maybe the mightiest triumph of the lot Aegri Somnia from French band Direwolves. Their eleven track rage is a masterful persuasion of uncompromising riffs and rhythms fuelled by irresistible melodic tartness and inescapable hooks. Fusing metallic sinews and punk attitude to their sonic and vocal squalls, the debut album from the Lorient quintet is a standout treat for genre and year so far, an onslaught which if not on people’s best of lists will certainly be in their favourites of the year.

Direwolves formed in 2011 and were soon making a mark locally and within the French underground scene, their potent two track demo release Demo MMXI in their first year left in the shade by their first EP, the eagerly received and praised Me From Myself, to Banish the following year. Aegri Somnia is their next major step as a band and you suspect one into a wider intensive spotlight. The release takes over where the previous EP left off in many ways, taking its base as a launch pad for a more intensive and inventive venture whilst drawing greater blackened essences and harsher aspects of punk and crust into the hardcore brew. On its first scarring Aegri Somnia easily impresses and captures the imagination but as all great releases the more you share and open up the senses to its causticity the stronger and explosively persuasive it becomes.

Introspection starts things off, it a brief sonically hatched instrumental which casts an acidic landscape around the ears whilst giving far direwolves covermore than a hint of what is to come as rhythms manhandle the senses with fearsome creative power and the bass parades a carnivorous sound and intent. It is a striking and incendiary start, easily enslaving attention and anticipation as the guitars wash the air with melodic venom before it all explodes into the raging fire of Insights. Riffs and rhythms tear chunks from the psyche right away whilst the vocals abrase with every tortured syllable and angst driven word. It is an even briefer assault than its predecessor, one minute of hellacious contempt and sonic temptation with hooks to match and all very tasty.

The following storm of The Blindness That Keeps You Warm pushes the album’s entrance up another notch in contagious persuasion, flying at the ears with rhythms throwing muscular spite and riffs adding their animosity to the intense pressure whilst infectious hooks and grooves pierce and wind their way respectively into the tempest. It is a merciless yet seductive scourge of enterprise which evolves into Holy Treason with just as much invention and irrepressible fire driving forth the exhilarating turmoil. As with all songs though it is not just about passion and ferocity with the band laying out addictive designs and melodic toxins which help make the already eager taste for the encounter greedy and satisfaction unreservedly intense.

The bass snarl finds an even greater predation to its voice in the next up Echoed In Vain whilst the drums develop a controlled frenzy which only impresses further. Though the track maybe does not make the strongest initial scoring on ears and thoughts with melody brewed acid in its body and far reaching hooks, it is a forcibly engaging violation matched and exceeded by the excellent Sighs And Whisper. As pleasingly expected by this point in the album, guitars sculpt a web of sonic scorching and imaginative melodic entanglement around a merciless and brutally rapacious rhythmic drive. Equally though there is adventure unique to each track and here the song bullies its way into a moment of post hardcore, almost progressive insight, to keep predictability and assumptions at bay and wrong footed.

Aegri Somnia continues to impress as the adrenaline soaked and at times impossibly magnetic The Liar’s Choice and the voracious Face The Facts unleash their primal and instinctive belligerence vocally and unrelenting defiance musically on ears and beyond, whilst Light It Up from an outstanding rhythmic coaxing within a sonic wail intensively paints a finger pointing indictment at society. All three add a different aspect to the album, individual outrages and creative provocations to ignite thoughts and emotions.

The final pair of tracks, Keep It Clear and Endless Tragedies, are arguably the band’s most expansive and intrusive engagements, both thick in weight and passion relinquishing the use of skilfully crafted hooks and grooves for exhaustive almost doom clad atmospheres and melodically spawned explorations. They make for a formidable conclusion for a thoroughly impressive and exciting beast of a release. There is very little to offer as a temper to the fully hatched appreciation and ardour for the intimidation offered, though of course if hardcore is not an instinctive flavour that appeals from the off the songs could occasionally blend into each other through only a surface attention such their swift strikes and mutually intensive passion. The bottom-line though is that Aegri Somnia is a tremendous proposition and Direwolves a band set for major things.

https://www.facebook.com/wearedirewolves

http://direwolves.bandcamp.com/album/aegri-somnia

9/10

RingMaster 31/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

 

Ringworm – Hammer Of The Witch

 

pic scott schumacher

pic scott schumacher

    I think it is safe to say that the ferocity and sonic viciousness of metallic hardcore protagonists Ringworm has not abated or diminished over their twenty plus years brawling with the senses. The indisputable evidence comes with new album Hammer Of The Witch, a towering and vindictive slab of destructive raging and antagonistic creativity. Packed to the brim with thirteen vitriol spewing tracks that just as venomously unleash a range of uncompromising riffs and addictive grooves, the album is a commanding onslaught of spite and animosity, simply unadulterated hardcore excellence.

     Formed in 1991, it is fair to say that Ringworm has left an indelible mark with their fusion of metal and hardcore, debut album The Promise in 1993 setting the Cleveland band as a sizeable proposition before a hiatus of sorts was ended by the unleashing of the critically acclaimed Birth Is Pain on Victory Records in 2001. Subsequent albums like Justice Replaced By Revenge four years later and the following The Venomous Grand Design of 2007 reinforced and strengthened their grip on passions and scene. Scars three years ago continued the stretching of the band’s creativity and power, the same pleasing accusation you can throw at Hammer Of The Witch, the band’s debut on Relapse Records. Recorded with Ben Schigel (Chimaira, Walls of Jericho) producing, the album is a merciless tempest chewing up and spitting out everything from ears to emotions.

     Opener Dawn of Decay emerges from a cinematic intimidation, a sense of epic danger spawning a weave of carnivorous 12 Jacket (3mm Spine) [GDOB-30H3-007}basslines, rapacious riffing, and combative rhythms, all honed into a prowling entity which sizes up its victim before exploding into  fire of musical causticity and vocal threat, the tones of frontman Human Furnace as always living up to his moniker. The song stalks the senses from start to finish, the guitars of Matt Sorg and John Comprix abrasively ravishing air and ears whilst drummer Danny Zink gives them a further mighty battering.

  The excellent start is potently backed up by the corrosive wrath of Bleed and the nastily venomous Leave Your Skin at the Door, both individual tirades of inventive riffery and precisely sculpted contagious grooves courted by the deliciously dark hearted tones spawned from the bass of Ed Stephens, his opening of the second of these songs a mouthwatering provocation. Each track is also marked by keen sonic endeavour from the guitars; theirs an acidic play within the riot which even in brief colours raises the potency of the anger.

    The toxic Exit Life rails against ears next, its narrative and approach singular in venom and hatred but fully magnetic, before Psychic Vampire belts and engages the senses with rhythmic violence and a deceptively seductive groove which winds around and recruits the passions. The track is a maelstrom of vehemence, lyrically and sonically, and rich infectiousness. It is an intrusive antagonist that is hard to have enough of, the same that can also be said of King of Blood, another unbridled onslaught which savages and ignites the emotions with dramatic grooves, temper driven riffs, and bitter rhythms. The track in many ways is similar to its predecessor, the one trait you could lay against the album with a regularly familiarity across some songs, though it does not reduce the pleasure and power of the release one iota.

    Through tracks like the torrentially consumptive I Recommend Amputation and the predatory We’ll Always Have the End as well as the raging causticity of One Of Us Is Going to Have to Die…, band and album abrases and sears with compelling efficiency and enterprise even if each lacks some of the spark of previous songs, though amongst them the title track takes its victims on a hellacious ride of physical and mental ferocity which simply ignites the passions, it’s almost demonic poisons irresistibly and dramatically enthralling.

     The final trio of tracks starting with the flesh and synapse scorching Vicious Circle of Life lift the album back to its opening plateau, the fearsome slice of tempestuous hostility scarred with great guitar acid soon thrown under the shadow of the brilliant Die Like a Pig. The bass of Stephens digs deep for its strongest guttural growl whilst HF soaks every syllable and rage spewing sound with bile spawned malevolence and passion to match the creative rabidity of its partners of dispute.

     The album closes with slab of prime hardcore/punk jaundice in the riveting shape of Height of Revelation. The uncivil and rigorously inciting melee of sonic and rhythmic rancor is a thunderous and thoroughly incendiary last triumph for passions and album. Hammer of the Witch is a breath stealing, bone splintering furnace of acrimony and virulent contagion. It is masterful and thrilling assault on the ear which if not the pinnacle of Ringworm’s career is certainly right up there. Hardcore has never sounded better in the hands of the ‘veterans’, and they show no signs of losing their devastating anger and invention either…Happy Days!

http://www.ringworm13.net/

9/10

RingMaster 19/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

All Pigs Must Die – Nothing Violates This Nature

apmd

All you need to know about Nothing Violates This Nature, the second album from Massachusetts-based All Pigs Must Die Nasty to warrant full investigation is that it is simply NASTY!! Corrosively nasty in intent, sonically nasty in sound, and undiluted nasty in passion, and a towering tempest of spiteful destructive hardcore. Building from their impressive and violent debut God is War of 2011, the band featuring members of The Hope Conspiracy, Converge, and Bloodhorse have come back together to create one of the most formidable and standards heightening furies of anger sculpted antagonism. It is a potently crippling beast of senses igniting noise which stands shoulder to shoulder to anything their day jobs and other recognised genre bands have created.

The Southern Lord release sees All Pigs Must Die joining up again with Kurt Ballou (Converge) at Godcity to record their follow-up album, a union which completes a stronger and more complete, dare one say confident, step on from its impressive predecessor. An album which does not give you room to breathe let alone escape its toxic glory, Nothing Violates This Nature confirms the stature and blistering force that is All Pigs Must Die, a band which admittedly as good as had written that in fire with their live performances alongside the likes of Integrity, Enabler, Ringworm, Black Breath, Eyehategod, Repulsion, Down, Sleep, Exodus, Church Of Misery and more.

As opener Chaos Arise stomps and storms through the ear with riffs and rhythms a combined ferocity there is an immediate sense of anCover_RGB_CD_300dpi-copy-e1369761381912 elevated and accelerated spite to sound and band, the vocals of Kevin Baker spoiling for a fight over the deliciously tight contagious grooves and abrasive riffs of guitarist Adam Wentworth and the air juggling disruptive might of the drums of Ben Koller. With the bass of Matt Woods snarling and crawling through it all with venom as thick as its bestial notes, the metallic punk castigator is a staggering start which immediately places the band on another level easily backed up by the following brilliant Silencer. Like being caught in an avalanche with sirenesque grooves diverting fear into full on obsessive rapture, the track in less than two minutes turns thoughts and emotions in on themselves trying to escape the savagery cast. At its departure the overriding thought from both songs is just how pissed off Baker and the band itself is.

Both Primitive Fear and Bloodlines chew and rip asunder the psyche, the first a torrential sonic squall of vocal vitriol and magnetic sound, the music a riveting mix of contagious grooves and hooks veining acid bred noise whilst its successor is a predacious and brooding stalking which exposes the senses and emotions to a magnetic alluring sonic spiralling alongside acrid intent. Both songs are magnificent, imaginative and intrusive with especially the second unveiling a weave of seductive melodic mystique which takes the release into new adventure. Hardcore has never sounded so good.

Of Suffering brings another twist in the intensive ride, its lumbering scourge a sonic acidity brewing within the doom laden sludge thick oppression. Baker barracks the barricades with merciless intent and animosity whilst musically the track wears and erodes defences with its enthralling and heavy weighted intensity.

The returning carnage laying brutality which opened up the album sends Holy Plague and Aqim Siege straight for the throat, their jaws obdurate instigators. Riffs and rhythms dominate but allow a space where Wentworth expels some sizzling melodic blazes in the first of the pair whilst the following barbarous confrontation of the other song is one minute of vicious beauty.

    Sacred Nothing is nothing less than glorious punishment whilst Faith Eater surveys the damage before adding its own creative ruthlessness. It is hard to imagine anything topping what has already been unleashed but the closing Articles Of Human Weakness masterfully attempts to correct assumptions with a multi-flavoured furnace of punk murderousness taken through a rancorous expanse of rhythmic rabidity and sonic vehemence. It is a staggering conclusion to a stunning release, one that gives a fresh hellacious breath to the hardcore scene.

https://www.facebook.com/apmdband

9/10

RingMaster 29/07/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com