Dark Century – Murder Motel

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A release which can just as easily raise a wide grin as it can an urge to go violate something, Murder Motel is an exhaustive and exhilarating corruption from a band clad in imposing and compelling devilry. Dark Century comes with a potent buzz behind them and their new album easily reveals why as it ignites ears, imagination, and a greedy appetite for their fusion of death, thrash, grind with a viciously healthy course of hardcore. It is a release which has plenty in it to feed expectations but also comes with a just as rich soak of originality to thrust The Canadian quintet into a spotlight of its own.

Formed in 2001 by guitarist Martin Gendreau, Dark Century has built an impressive reputation and presence over the years around Montreal and beyond. It is a time sign-posted by their excellent and well-received debut album Days of the Mosh as well as a live presence which has seen them alongside the likes of Aborted, Misery Index, Quo Vadis, Rose Funeral, Exhumed, Fleshgod Apocalypse, Goatwhore, Origin, The Faceless, Battlecross, Fuck the Facts and many more as well as light up numerous festivals. With a new line-up Dark Century return with their monstrously towering new incitement, an album which puts the band on a new plateau. Produced by Chris Donaldson (Cryptopsy, Mythosis, Erimha, The Agonist, Derelict, Neuraxis) with Gendreau, Murder Motel is a storming onslaught from start to finish, a ravenous bestial proposition veined by incessantly riveting imagination and unpredictable twists.

     In Our Veins starts things off and is soon careering through the same network of the listener with riffs grazing every surface they can find and rhythms voraciously pummelling the senses. It is a ferocious start which aided by the raw thrust of the vocals and that rhythmic tsunami, only intensifies its assault the further into its destructive arms you sink. Drummer Steve Burns is exceptional from the off but also is the stringed ravishment from Gendreau whilst the slightly varied and excellent caustic tones of vocalist Leather King and the predatory bass incitement of Francis Lafrenière equally steal their share of attention and acclaim.

The fine start hits another gear with the following title track where again a mere breath is taken before a disorientating rhythmic assault and bass grilling consumes the senses. Little time passes neither before a swagger and violent swing to the track wraps its irresistible temptation around a by now rampant appetite, the track lurching over and provoking the emotions with mischievous designs and violent intent. Here as with a few songs there is something familiar to the proposal offered but it only eases the accessibility of the track for the eagerly offered passions. The solo from Erik Fernet-Evans is a plume of intrigue and drama to colour further the potent canvas of the song as it drifts away at its end for Torticolis to seize its portion of attention. Rabid and intensively imposing, the track grips with carnal intent and flesh savaging sounds, its breath toxic and riffery a torrential assault driven harder by the severity of the Burns’ rhythmic spite.

Knees might already be buckling at this point and senses cowering in fear but hunger for more is insatiable and fed healthily by the brief but intensive predation of Ice Breaker and the fearsome rage of new single Kill The Crowd. The latter’s touch is as violent and scarring as anything heard before on the album but is aligned to a masterful persuasion of heavy metal coaxing and hardcore ravaging. Add the irresistible swinish grind twists and vocals plus the teasing cowbell, as well as the horde chants and you have another irrepressible capture of thoughts and emotions, but one exceeded even more by the brilliant Dead Birds. It is one of those addictions impossible to shrug off with the track from its anthemic rhythmic entrance stamping its authority over ears and excitement, crowding and preying on the senses with primal riffs and vocal voracity. It is just one of the structures ready to subjugate the passions, a heavy intensity laden consumption taking its sizeable portion of the adventure under its control just as firmly as the underlying but easily detectable excitable grooves have their appealing say.

   The four second Trio du Bûcheron comes next and there really is little to say about it. Neither working as an intro nor making any impact being so short, it is just there before both Cholestérol and Chloroforme cast their severity over ears. The first is another merciless gorging of the senses with piggish vocals, hellish rhythms, and a sonic weave of skilled enterprise igniting the otherwise pleasing if underwhelming song, in comparison to previous maelstroms. Its successor is similar in its presence, formidable and undeniably impressively crafted but failing to spark the same rapture. Nevertheless both keep band and album in solid control before the closing pair of firstly Mosh Test Dummies and the closing Gore On My Snare ensnare ears to inflame responses all over again. The first of the final two initially stalks and stares venomously at its recipient, its approach reserved but only for a deceptive moment as the song soon uncages its sinews and rigorous ingenuity to smother and savage all before its predatory strides. Its companion is pure blistering barbarity, everything from riffs to rhythms and vocals to creativity a masterclass of bloodlusting malevolence. It is demanding physically and emotionally making a scintillating conclusion to a tremendous provocation.

The album comes with recommendations that fans of bands such as Dying Fetus, Cannibal Corpse, Six Feet Under, Hatebreed, and Annihilator will get a hot flush from Murder Motel, but we suggest anyone with a lust for inventive and revelling extreme metal will find Dark Century a new best friend.

The self–released Murder Motel is available now @ http://darkcentury.bandcamp.com/album/murder-motel

www.DarkCentury.ca

9/10

RingMaster 19/04/2014

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Rose Funeral – Gates Of Punishment

Malevolent and black heartened the new album from Cincinnati death metalers Rose Funeral is one of those releases that will do much more than get a good response upon its release. Strongly impressive, strikingly creative, and unnervingly powerful it is an immense cacophony of dark intent and violence of demonic proportions. Its destiny is to recruit new masses of followers from the shadows and to place Rose Funeral at the head of the new breed of death metal bands.

   Gates Of Punishment is the follow up to the band’s highly acclaimed Metal Blade Records debut The Resting Sonata from 2009, the eleven pulsating demonian tracks within building on its predecessor and pushing the band’s music to new heights and devastation. In the press release vocalist Ryan Gardner commented “We had the greatest time recording Gates of Punishment. It is definitely a HUGE step for Rose Funeral. I can honestly say this album just crushes any release we have done. We are looking to turn heads and drop jaws with this album. Gates of Punishment is filled with intense blasts, fast paced solos, melodic harmonies, dark chords, harsh vocals, and pissed off breakdowns. This is the sound I have been searching for with Rose Funeral, and I couldn’t be happier. All I can say is that with the guys I have in the band, it will be a huge climb in sound every album from now on.”  Going by the quality and strength of Gates Of Punishment there is one hell of a death ride ahead for us all.  

The album starts off with an instrumental intro to opening track ‘Legions Of Ruination’, as bells toll it is a portent of things to come with its ominous tones through a rain soaked effect. Once it has laid its emotive atmosphere down the track explodes into a pummelling exercise of power. The vocals of Gardner drip venom as the drums attack machine gun style, whilst the guitar of Kevin Snook drives like a cranial drill into the skull, incessantly and deeply. His melodic and sonically powerful additions though aid the intensity rather than alleviate it and it brings the whole experience up multiple notches of pleasure.

Grotesque Mutilation’ increases the damage and levels immediately after, intrusive sonically and rhythmically it is primal and evil. Bassist Julian Kersey brings riffs that stomp menacingly and though understated at times more than helps create the over whelming oppressive feel. A big factor to Rose Funeral’s is the distinct variation within tracks, riffs, tempos, crushing breakdowns  are all delivered with thoughtful attention and ability, making each turn within a track a new unexpected but invariably a very satisfying adventure, ‘Beyond The Entombed’ a prime example. Coming over initially like a Cradle of Filth influenced track it soon moves to new realms yet undiscovered by the UK band. With tense piano insertions, seek and destroy riffs and guttural vocals to grace any grave, the track is a lurking beast.

Across the album each and every track delivers originality and intense terror to please any dark soul. Varied and loaded with the darkest riffs and wickedest intentions musically and lyrically at every turn, there is nothing but contentment to be found. From the crumbling incessancy of ‘False Divine’ featuring vocals from ex Morbid Angel frontman Steve Tucker, through the clutching grasp of ‘Malignant Amour’ with another guest in the form of opera singer Kate Alexander bringing her glorious melodic voice to work against and with the direct aggression, to the albums best track ‘The Desolate Form’. The song ripples with pernicious urgency and fierce energy, if one has to go this is the kind of track to leave this realm with.

Gates Of Punishment is an epic, not in the size of the release or even the sound but in the intensity, creativity, and total enjoyment it gives. With a year of very good and strong releases in the death metal genre Rose Funeral has just raised the bar for them all.

http://www.metalblade.com/rosefuneral

http://www.facebook.com/rosefuneralmusic

RingMaster 16/09/2011

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