Mordant – Demonic Satanic

cover_RingMasterReview

Released towards the rear of last year, Demonic Satanic the new album from Swedish black metallers Mordant just has to be looked at and recommended no matter the length of time since it’s unleashing. Fusing black, thrash, and death metal into one corrosively virulent proposition, the band’s sound and in turn album is a tempest of fearsome rock ‘n’ roll which welcomingly infests and devours the senses.

Formed in 1997, Mordant has released two previous albums in Momento Mori (2004) and Black Evil Master (2008), a trio of demos, and a split with Sabbat in 2013. Each has increasingly nurtured the band’s unique style of black metal fuelled pestilence now raising the cancerous infectiousness of Demonic Satanic out of the sole confines of its source genre. As suggested, the album is pure rock ‘n’ roll without losing any of the Swedish black/metal traits it has its seeds in.

Vengeance from the Dark is the album’s first trespass, the track swiftly luring ears with rhythmic bait and stabbing riffs before driving headlong into a scourge of raw rapacious riffs and toxic grooves. As the throat bleeding tones of vocalist Bitchfire scowl, the thrashier instincts of the band collude with melodic and sonic flirtation but are never allowed off the leash as the track confronts ears like a venomous celebratory waltz. It is a constantly enjoyable nag on the senses with hooks sharing character with old school rock ‘n’ roll, even at times rockabilly.

The excellent start continues as Devastating Storm… Evil Holocaust bounds in with its own incessancy of riffs and rapier like rhythms, the scything swings of drummer Necrophiliac managing to simultaneously bludgeon and be precise in their touch as the bass of Carnage growls with mercurial intent. As the intrusive assault of rhythm guitarist Soulmolester harries ears the grooves of Angelreaper wind themselves around the psyche, venom lining their every twist; masterful assets repeated in the album’s title track straight after. The track is as much psychobilly as it is extreme metal in many ways, that host of elements making up the Mordant sound diverse and expansive not only release by release to date but song by song upon Demonic Satanic. It is still blackened death metal at heart but as catchy as you could wish for; an epidemic of spiteful temptation.

Evil Impalers is another scourge easily taking limbs and appetite in its grip, its thrash sparked charge the drive for insidious suggestion and endeavour to seduce whilst courting the track’s bestial side before the Dals långed based quintet infest the Sabbat track Blacking Metal with their own creative curse. Both tracks leave nothing left to desire with the former pure incitement for pleasure, a potency tapped into by the hellacious outpouring of Desecration from Hell, a tempest of sonic poison also with an embrace of melodic adventure with persuasive toxins of its very own.

Through the pair of Infernal Curse of Evil and Screaming Souls, the senses are tormented and instincts aroused, the first as much a slab of salacious rock ‘n’ roll as it is emotional malignancy and its successor a web of injurious enterprise woven from varied strands of metal. Each leaves a greed for more with the former another peak in the album’s landscape.

Count Lucifer brings the album to a close, its tempest raw yet majestic and surrounded by a web of invasive imagination and magnetic craft. Again you can only describe the enmity as carnal rock ‘n’ roll and one hard to evade becoming enslaved by.

With thanks to Kunal at Transcending Obscurity who personally recommended the album, we may be late to it but have not missed out on something which may happily share its genre inspirations but is, as the Mordant sound, a fresh creative rancor to be in turn inspired by.

Demonic Satanic is out now through To The Death Records and available @ https://tothedeathrecords.bandcamp.com/album/demonic-satanic

https://www.facebook.com/mordantblackmetal

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Soldierfield – Catharsis

 

SFpromo5Lo

It has been a long timing coming, well it feels that way since the release of their acclaimed and outstanding EP Bury The Ones We Love in 2012, but now UK melodic metallers Soldierfield return with their highly anticipated debut album, Catharsis. It is a release which like so many others we had high expectations of and fierce hunger for, and it is fair to say that the tempestuous rampage suffices all wants and much more. Simultaneously continuing where the previous release left off and forging new expansive landscapes for their songwriting and feverishly flavoured sound, the quintet has created an incendiary device of enterprise and raw force to set the British metal scene ablaze.

Soldierfield was formed in late 2011 when guitarist Andy Trott linked up with bassist Simon Priestland to work on and unleash songs the former had been working on. Deciding to put out some demos the pair pulled in vocalist Leigh Oates (Order Of Voices, Rise To Addiction) who expelled his lyrical and vocal prowess upon the tracks. The first song unveiled instantly sparked a buzz in the underground scene and within the industry which led to the band signing up with Metalbox Recordings. Subsequently the Bury The Ones We Love EP was uncaged with the line-up completed by guitarist Steve Wray (Rise To Addiction, BLAZE), who produced the EP and now the album, and drummer Jeff Singer (Paradise Lost, Kill II This, China Beach, BLAZE). Continuing to reap the richest essences of numerous styles and flavours to infuse into their own invention, Soldierfield, with Wayne Banks (Joe Lynn Turner, Sabbat, BLAZE, Messiah’s Kiss) now on bass, raise their and British metal’s bar again with the impatiently waited for Catharsis.

The album is an aural emprise which immediately ignites a fire in ears and emotions, but proceeds to unveil more depths and potency over time to perpetually seduce the imagination. From their first offering, The Light, band and album enthrals and trespasses through ears into the passions with virulent and creative ferocity. Theirs is a sound which sounds deceptively familiar but equally wholly fresh and distinctive, no more so epitomised than the opening track. Seemingly entering from where final track The Path on the EP left off, The Light is a bridge between and gateway into a new chapter and realm of adventure. Its dawning presence is a restrained and melodic tempest which draws near with every sonic agitation before exploding into a predacious and rhythmically intensive stride. Riffs flame and flirt with their enticing whilst bass and drums provide an enslaving bait, it all capped by the outstanding sandy toned vocals of Oates. As potent and expressive as ever, straight away there seems a thicker impassioned drive to his tones which is matched by the carnivorous riffery and colourful designs cast by the guitars. As rampant as it is resourceful, the track is a stunning start which with moments of Manic Street Preachers like persuasion has the appetite drooling.Soldierfield - Catharsis - Artwork

The following Beautiful Lie rigorously strides the same plateau, sonic intrigue seeping from every guitar spawned note as intimidation drives every swinging beat. There is an instant drama to the song which is ushered in through the throaty basslines of Banks and stretched by the vocal tenacity of Oates and the acidic invention sculpted superbly by Trott and Wray. As its predecessor, the song offers for no definable reason a familiar face but is soon twisting its character and presence with riveting craft to leave ears and thoughts engrossed before both The Only War and Burn Bright ignite their impressive persuasions. The first of the two opens with melodic elegance and beauty across a peaceful atmosphere, the guitars painting an enthralling picture before the more rugged landscape of the song is revealed and painted by the impassioned vocals of Oates. Flirting with thrash and groove metal, the song is soon aflame with gripping enterprise from the guitars and prowling rhythmic tempting from Banks and Singer, a mix emulated by its successor within a far more savage and inhospitable atmosphere. The track merges extremes of texture and attack with fluidity and thrilling resourcefulness, raging and seducing within a just as agitated and varied sonic climate.

The pair of Monochrome, an exceptional track which exploits a horde of fierce and inflammatory styles to create another major pinnacle on the album, and the bewitching Ghosts sublimely spark hungry waves of pleasure and satisfaction through ears and emotions. The first truly encapsulates the band’s invention, a tempestuous fusion of varied sounds and flavours which is as adept and majestic brawling with or seducing the listener, whilst the second is an unpredictably transfixing offering which needs more time than others to reveal all its qualities but emerges just as handsomely accepted and devoured. This can also be applied to the dramatic presence and evolving creative narrative of New Religion and the enchanting gentle croon of the album’s title track where Oates again reinforces his vocal prowess.

The next up Nothing Left springs with the same melody fuelled lure as the last song but is soon shrugging of restraints to emerge as a voracious and turbulently volatile storm which only feeds the greed surrounding the release, especially when it still shares its fury with moments of unbridled beauty. The ferocious treat is replaced by the album’s closing track, the mesmeric Cut the Ties, a song blending wiry and seductive melodies with sinister basslines and breath-taking vocals; the track a stunning finale to a superb album.

Catharsis confirms all the early thoughts and assumptions about the potential of Soldierfield and much more, with only the fact that some songs do not linger in memory and thoughts as potently as they should and deserve a slight puzzle. Nevertheless the album is still one of the year’s major highlights and company very hard to tear oneself away from.

Catharsis is available now digitally and on CD via Metalbox Recordings @ http://metalboxrecordings.com/shop/index.php?route=product/product&path=59&product_id=57

www.soldierfieldband.co.uk

RingMaster 18/11/2014

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Morbid Slaughter – Wicca

MORBID SLAUGHTER BAND

On the evidence of their new 7” vinyl release, there is something definitely compelling about being examined by the exacting thrash fuelled black metal malevolence of Peruvian metallers Morbid Slaughter. They have a sound which is vociferously raw and rigorously invasive and taking the two tracks within new release Wicca as an introduction, magnetically riveting.

Formed in 2009, Morbid Slaughter explores themes of horror, witchcraft, and murder in their encounters, earning a potent reputation in South American metal and apparently in Atlanta. The Lima quartet of vocalist/guitarist AER, bassist TERRA, guitarist IGNIS, and drummer AQVA unleashed their first demo release, Ensayo in 2010 followed two years later by the Torment in the Crypt Demo and last year The Summoning of the Graveyard Ghouls Demo. 2014 has seen already the …Rancid Death Awaits 2014… album released, a compilation of the previous two EPs on Putrid Cult but it is the new Boris Records released Wicca which excites as the band has their first release to be offered to the world.

The title track starts things off and within a breath has ears up against an eager and vibrant scrub of riffs. Crisp punchy rhythms add to the MS_Wicca_7inch_cover_artbrawl which is already squaring up to the senses, their union with the bass a relentless rapacious antagonism. It is unfussy thrash metal roaring in the ears but one seeping blackened malevolence especially in atmosphere and through the serpentine vocal rasps. It is not a perfect proposition, the vocals of AER across both songs simultaneously agreeable yet a little off-putting but to all extent and purposes do convince after numerous forays into the pit of the release, though personal taste still has a little reservation. Also the production is not the best, suffocating the spark of the songs in many ways stopping them from flaring as you feel they should, but to be fair the first song is a festering storm of metal sculpted rock ‘n’ roll which recruits a hungry appetite for its highly satisfying incitement.

The insidious contagion and malicious intent of Wicca is followed by The Nightly Breath of God, another track which reaches from the dank blood sodden earth with a thrash spawned pestilential voice and heart. Riffs and grooves coax the passions with further impressive bait whilst rhythms splinter bone and air with swinging spite as the psyche grasping vocals crawl over thoughts and emotions with toxic syllables and raging rabidity. It is a great track which as its predecessor, survives the obstacle of the production to impress and inflame a real appetite for the band and its sound.

Morbid Slaughter is a thrilling and enthralling encounter, the perfect protagonists and soundtrack providers for a truly vicious adult version of Tales From the Crypt or Night of The living Dead in our view, and a sonic plague easy to recommend extreme metallers and fans of bands such as Sabbat, Carpathian Forest, and Sarcofago allowing to venomously finger their attention.

Wicca is available via Boris Records @ http://borisrecords.bandcamp.com/album/wicca-7

https://www.facebook.com/MorbidSlaughterOfficial

8/10

RingMaster 31/05/2014

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Toranaga: Righteous Retribution

Toranaga Online Promo Shot

Twenty three years after their debut album, UK thrashers Toranaga have returned from a long absence with a new album and what a thunderous storm of a release it is. Many bands return after a long time away and struggle to find that essence which lit up their initial presence or to write tracks which have the same intensity and potency which marked them in the first place. There is no fear with this Yorkshire quintet as Righteous Retribution goes straight for the jugular chewing up the listener with slabs of muscular threat as aggressive and lethal as anything the band has carved before.

Formed in 1988 by bassist Andy Burton, vocalist Mark Duffy, drummer Steve Todd, and guitarist Andy Mitchell, Toranaga made an immediate impression with their debut album Bastard Ballads, the Peaceville Records released provocateur earning strong responses and leading to the band extensively gigging across the UK. It also drew in strong radio play with the likes of Tommy Vance on the BBC Rock Show and sparked an invitation to open up for Manowar on their UK tour. Snapped up soon after by Chrysalis Records, the band released second album God’s Gift in the spring of 1990 which was covered in even greater acclaim.  Tours and shows with the likes of Sabbat, Venom, Saxon, Metal Church, Uriah Heep and Annihilator followed as the stature of the band rose, though sadly their record label was one which did not offer the support the band needed to progress and develop which led to their departure from it the following year. From here internal conflict made its presence known within Toranaga and not long after the band called it a day.

Then in 2010 though Burton got in touch with Todd and Duffy about writing new songs together as Toranaga. With positive feedback theToranaga Cover Artwork trio came together and set about searching for a guitarist to replace Mitchell who had emigrated to Australia in 2006. With a line-up completed by Shane Haigh and John Rodgers the band set forth into a studio to record Righteous Retribution with Mik Crone. Eighteen months in creation, Righteous Retribution makes up for those absent years of the band with an instant forearm smash between the eyes with the first full storm after the opening introduction Portam AD Infernum. As it ravages the senses it is as if the band has never been away but equally sets them up as a new and still refreshing weapon for thrash/heavy metal. The self-released tempest moves through the evocative introduction seemingly eager to unleash its sinews which within seconds of the following Traitors Gate it does and in rapacious style. Riffs are helping themselves to submission with their voracious and heavy provocation whilst the rhythms of Todd punch and jab like a heavyweight moving swiftly with rapid rabidity. Duffy maybe surprisingly, soon shows he has not lost any of his strength and animosity, his vocal attack welcoming and grizzled, infectious and gnarly. The track has a definite Metallica/Exodus like breath which arguably was expected but equally the track stomps across the passions with a hunger and contagion which is pure Toranaga.

The outstanding start is instantly backed up by the scintillating Cynical Eyes, the song another savage but anthemic lure which commands feet, voice, and emotions. Jagged riffs and the perpetually predacious basslines frame the snarling vocal squalls whilst a carnivorous emerging waspish groove wraps teasingly around the rhythmic veining. Thrash at its most compulsive and vengeful, the track is a massive highlight of not only the album but the year, certainly in its chosen breed of genre. Both songs are so potent and dynamic that it leaves the remaining songs almost too much to emulate but boy do they do their very best.

Both The Ultimate Act Of Betrayal and I Must Destroy reap the rewards of a rigorous hunger spawned by their predecessors, the first springing from a slow and evocative intro to launch a tirade of twisted riffs and exhausting rhythms ridden by the continuing to impress vocals of Duffy and band, whilst the second grows from a crawling start into a stalking of the ear with predatory riffs guided by an incendiary groove sculpting a trap for the passions which is sprung by excellent breaks and sonic stabs as well as the scorching guitar enterprise. The pair reinforces the epic start with craft and guile, whilst the following Return Of The Gods with its almost stoner like tease and acidic grooves lays down another rung on the climb to ardour being built by the album.

As well as unleashing riveting heart capturing sounds Toranaga ensure diversity and imagination is present in strength too, The Beginning Of The End igniting yet another blaze of invention and variety with a groove metal hue to its classic metal suggestiveness as it wraps melodic and expressive weaves of hot guitar intrigue around the again crisply commanding rhythms and vocals. Adrenaline rushes through the veins of Prove Me Wrong like boiling blood next, its life force thrusting the song into a high octane fuelled temptation with rich heavy metal antagonism whilst the seductive Judas Priest whispering Something Evil and the primal almost bestial Battle Cry with excellent guttural growls adding their black menace to the barbarous confrontation, only cement the large spread of sound and ideas upon the album.

Finished by the magnetic Rise From The Flames and the outstanding I Play God with its persistent grinding probing and deliberately intensive intimidation, Righteous Retribution is a masterful and thoroughly thrilling encounter. Easily one of our favourite releases this year, Toranaga show that they have not only returned as strong as before but have found something extra to give current bands  a real run for their money.

http://www.facebook.com/ToranagaUK

http://www.toranagauk.com/

9/10

RingMaster 31/08/2013

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BRIT METAL MANIACS TORANAGA RETURN TO RELEASE BRAND NEW ALBUM!

Toranaga Online Promo Shot
High Rated Yorkshire riff-slingers ‘Toranaga’ are back with their ferocious new full length album ‘Righteous Retribution’ available through all digital outlets on Monday 2nd September. Look out for tour dates, soon to be announced!
 
‘Toranaga’ were originally formed back in 1988 by Andy Burton (bass), Steve Todd (drums), Mark Duffy (vocals), and Andy Mitchell on guitar. The four piece released their debut album “Bastard Ballads” through independent label Peaceville Records and widespread national reviews and extensive gigging soon followed. The band then played a session for the legendary Tommy Vance on BBC Rock Show, and were invited to open for metal giants Manowar on their UK tour. Soon after Toranaga were snapped up by Chrysalis Records.

The band released their major label debut album ‘God’s Gift’ in the spring of 1990, and again notched up critical acclaim and video airplay with MTV Headbangers Ball and Raw Magazine’s Heavy Metal Channel. Extensive touring throughout the UK and Europe soon followed with the likes of Sabbat, Venom, Saxon, Manowar, Metal Church, Uriah Heep and Annihilator. Regrettably though, the band were not given the chance to develop and grow with Chrysalis, so they parted company at the end of 1991. Internal conflict within the band followed and Andy Burton and Mark Duffy decided to leave the camp and Toranaga disbanded.

However in 2010, Andy Burton decided to pick up the bass again and contacted founding member Steve Todd and Mark Duffy about playing some of the old Toranaga songs, as well as writing and recording new material. With original guitarist Andy Mitchell emigrating to Australia, the band widely auditioned for new guitarists. Shane Haigh and John Rodgers stepped into the fold and have more than filled the void. The chemistry, drive, ambition and friendship is now fully back within the band.

With a renewed vigour and focus, Toranaga marched into the studio to record with Mik Crone at the helm. After eighteen months in the making, the band completed their brand new album, entitled ‘Righteous Retribution’. Twelve songs of colossal heavy metal brilliance flaunting whiplash guitar riffs, commanding vocal lines, and a ballsy rhythm section fill every crevice of the record. The album hits you full force and instantly hammers out frantic drumming and hi-octane powerful riffs to maximum effect. From the mighty ‘Cynical Eyes’ (which is set to be the band’s new video single) to the stomping bite of ‘Prove Me Wrong’ and the engrossing ‘I Play God’, it’s evident that time has only sharpened the band’s creative powers, as they have produced a blistering slice of metal. Now, with no major label to hinder their spark, Toranaga will rise!
Toranaga Cover Artwork