Megascavenger – As Dystopia Beckons

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With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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Pyrrhon – The Mother Of Virtues

pic Caroline Harrison

pic Caroline Harrison

If an unstoppable pestilence sets its sights on our souls let us hope it comes in the same manner as The Mother Of Virtues, wrapped in corrosive beauty and seductive ugliness. The new album from US progressive death metallers Pyrrhon is a destructively bedlamic onslaught of deathly malevolence, tortuous psychedelia, psyche searing experimentation, and irrepressibly addictive.  It is not an easily accessible or comfortable experience, arguably the most painfully contagious and intrusively crippling of the past year but deep in such creative adventure and vicious intrigue that if it connects it is equally one of the most rewarding pestilential offerings too.

Brooklyn hailing Pyrrhon was formed in 2008 apparently after a chance meeting on a subway platform. Since that moment the quartet of vocalist Doug Moore, guitarist Dylan DiLella, bassist Erik Malave, and drummer Alex Cohen has been twisting and challenging sounds and senses. The band’s 2010 debut EP Fever Kingdoms was the first of their releases to receive wide and strong plaudits, the acclaim increasing when their first full-length album, An Excellent Servant But A Terrible Master, was released a year later via Selfmadegod Records. Intensifying their sounds and invention over the next couple years, Pyrrhon set about creating their new sonic torment The Mother Of Virtues. Tracked and mixed by Ryan Jones (Today is the Day, Mutilation Rites, Wetnurse) and mastered by Colin Marston (Gorguts, Krallice), repeating his work on the band’s previous releases, the Relapse Records released album consumes and suffocates the senses and reality with a rigorously diverse maelstrom of extreme metal, a torment to awaken nightmares and ignite impassioned slavery to its toxicity.

From its first breath the album is savaging and twisting ears and imagination inside out, opening track The Oracle of Nassau cursing with 12 Jacket (Gatefold - Two Pocket) [GD30OB2-N]sonic rabidity and an annihilatory ravishment. Rhythms and riffs converge in a torrential tsunami of spite and eager decay, strangling senses as guitars and vocals unleash their scourge upon the wounds. The track spews enterprise and vitriol with every searing note and poisonous syllable, creating the perfect threat and welcome into the belly of the beast.

The following White Flag opens on probing beats soon joined by a stalking bass riff. Instant intimidation within a cavernous ambience engulfs the imagination, its scenery caustically painted and expanded by the initial graze of guitar which soon evolves into a bestial predation. The track prowls with a doom bred lilt and noise sculpted breath, constantly lashing ears with acidic ventures and ferocious intensity. It is a thoroughly compelling and merciless proposition, a black hearted contagion of jazz spawned rhythmic bombardment courted by animalistic riffs and synapse stripping ingenuity from the guitars, all governed by the guttural spewing of Moore.  It is primal and quite bewitching, especially the stretch of melodic elegance which whispers for a brief moment at the eye of the storm.

Sleeper Agent accelerates the hunger of the rabid appetite in place by its appearance, the delirious mania of guitars and rhythms frisking then violating everything from ears inwards. Searching deep, as with all tracks, there is an order and sensibility to the unleashed viscerally driven plague, but you sure have to dig deep and with determined energy to unveil the additionally potent intent. The track is outstanding, preying on the disorientation and suffering already expelled previously with relish, as does next up Balkanized. The first single from the album firstly lays down a few seconds of cyber coaxing which is then thrust aside by a roving throaty bassline and an anarchic squall of flesh scything guitars and groaning vocals. More violent than its predecessor but employing a similarly ‘lighter’ weave of erosive invention, the track lurches and leans heavily on the senses with sounds which combine like a pack of voracious predators.

Both Eternity in a Breath and Implant Fever spiral deeper into the depths of mind and emotions, the first an invasive merger of serpentine ambiences and rapacious rhythmic enticement which casts its own growing vindictive spoils over the listener the further into its dark festering depths you go. Its successor is not as dirty as the previous song but certainly is not a light of hope and hope either, the encounter lyrically and musically a warning and warring menace. The pair turns the cerebral battleground darker with their own individual hues of inventiveness and voracity whilst Invisible Injury churns up their landscapes with its own specific institutional mayhem.

The album is completed by the exhaustive brilliance of The Parasite in Winter, a track which is lighter on the touch but heavier in the animosity with a sonic design that is mouth-wateringly infectious and barbarically controlling, and the closing epically severe soundscape of the title track. Over ten minutes of noise dementia and rancorous exploration which is all quite ingenious and thrilling, the track alone tells you all you need to know about the brilliance and nastiness of Pyrrhon.

The Mother Of Virtues will undoubtedly only be for a certain psyche or should that be masochist but if band and release find favour in your artistic aberrations and according to the press release if you have a taste for the likes of Gorguts, Ulcerate, Cryptopsy, Portal, and Deathspell Omega, then you just might be listening to an album of the year front runner.

https://www.facebook.com/pyrrhonband

http://pyrrhonband.bandcamp.com/album/the-mother-of-virtues

9/10

RingMaster 28/03/2014

Copyright RingMaster: MyFreeCopyright

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