Deathkings/Rozamov – Split

Rozamov Split

On May 16th and 17th US bands Rozamov and Deathkings respectively will be playing The Observatory in Santa Ana as part of the three day Psycho California fest which starts on the 15th. The third year of the event will again see over fifty bands from around the world bringing a wealth of genres from doom and sludge to post rock, hardcore to black metal. To mark their participation Deathkings and Rozamov have united to unleash a split 7” via Midnite Collective, bearing a new and exclusive track from each. It adds up to around fifteen minutes of sludge bred enjoyment with the imaginative contagion to seduce and primal ferocity to savage.

Deathkings

Deathkings

The first track is from LA hailing Deathkings, a quartet fusing sludge and doom with experimental voracity. The band consists of guitarist Daryl Hernandez and bassist/vocalist Nicolas Rocha, a pair who had already played together in a previous band before forming Deathkings, as well as drummer Sean Spindler and guitarist Mark Lüntzel, who joined the band after the release of the band’s three-track EP Destroyer. The quartet is currently getting to grips with the creation of their second release, tentatively titled All That Is Beautiful, and with their contribution to this endeavour in the mighty shape of Solomon, it is destined to be a highly anticipate encounter.

Solomon opens on a hypnotic and instantly enthralling stroll of resonating, deeply impacting rhythms skirted by equally predatory strands of guitar and one delicious bass tone. It is a gripping anthemic baiting over which the gruff growling of Rocha grumbles and roars. A fresh gear is then subsequently found, the track prowling with greater relish and urgency whilst dispensing thick and incendiary sludgy enterprise on the way to becoming an evolving cauldron of sinister monotone vocals, melodic toxicity, and doom soaked intensity. It proceeds to haunt the psyche and voraciously devour the senses, never remaining in one strain of confrontation for long but continuously igniting the imagination with its darkly immersive landscape. The track is inescapably compelling, an unrelenting mouth-watering incitement quickly matched by its companion on the release.

Rozamov springs from Boston and infuse their sludge invention with a more hardcore bred ferociousness as well as, like Deathkings, potent atmospheric persuasions. The trio of

rozamov

rozamov

guitarist/vocalist Matthew Iocavelli, bassist/vocalist Tom Cornio, and drummer William Hendrix, have frequently drawn references to the likes of Neurosis, Yob and Grief through their sound, live presence, and a pair of previous EP’s. Now in the depths of writing their first album, the Massachusetts band offer Ghost Divine to the split’s fury of sound, and from a sonic mist swiftly turns into a maelstrom like intensive examination of the senses fuelled by a bracing turbulence. Vocals quickly vent with a hardcore fury, a raging emulated by the caustic tempest of sound consuming ears simultaneously. At times an unbridled hurricane and in others a lumbering beast of doom lined discontent straddled by acidic flames of guitar rapacity, the track is a bewitching and fearsome rancor but unafraid to reveal unpredictable and engrossing flights of imagination, even if in brief and fleeting moments within its ravenous assault.

Both tracks leaves senses bruised, ears hungrier, and anticipation for their next releases sparked, as well as wishing we were there at both their upcoming performances.

The Deathkings/Rozamov – Split is available now via Midnite Collective @ https://midniteclv.bandcamp.com/album/deathkings-rozamov-split and http://midniteclv.storenvy.com/products/12489843-deathkings-rozamov-split-7

http://www.facebook.com/DeathkingsMusic   https://www.facebook.com/Rozamov

RingMaster 13/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Hogslayer – Defacer

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photo Mei Lewis of Mission Photographic

 

As primal and consuming as any physical grudge the earth expels, the sound of Welsh fury Hogslayer is an inescapable savaging but equally a predatory incitement which sparks only a greedy appetite for more. Certainly that is the success found in the band’s first album, and taken to new heights in their new and second full-length Defacer. The release is a brutal monolithic tide of sludge rich, tar thick sonic malevolence, a proposition as oppressively destructive as it is perversely invigorating and ultimately fiercely compelling.

The Cardiff quintet first emerged in 2012, rising from the ashes of Shaped By Fate and Zonderhoof. Instantly there was no mercy given by their crawling toxic blend of sludge, doom, and every rabid essence of noise to be found, a heavily persuasive confrontation evidenced by the band’s 2013 self-titled debut album. Now they have intensified every aspect of sound and emotional turbulence within their invention to create and unleash Defacer, as magnetic a violation as you are likely to meet this year.

The first trespass of senses and psyche comes with Slowhawk, a raw vocal rant from Lord Bastard the trigger to a tsunami of bestial bass predation and equally vicious guitar stalking, it all punctuated by the slow uncompromising swings of drummer Max Von Beek. The creeping groove of the assault is as immediate in its lure too, the primitive growls of bass cast by Grym Av Skugga and Damek Ômsk irresistible intimidation loaded with an instinctively seductive swagger. The guitar of Barron Drakk provides its own incendiary tempting to add to the mix, entwining the dark imposing incitement alongside with a mix of caustic riffs and piercingly spicy hooks. The track is an unrelenting mass of uncompromising contagion; raw rock ‘n’ roll at its hellacious best setting the album off to a mighty start.

11025783_788660491214134_3070821753561557583_n   The album’s following title track reveals an even more barbarous presence and intent from its first few breaths, riffs and grooves almost Neanderthal in tone yet quickly showing they are prepared to twist in infectious enterprise and sonic unpredictability too as they potently colour the almost hypnotic repetitious core of the song. Throat scarring vocals spill furiously from the front man, providing a potent abrasion from within the smothering web of sound and hostility around him. Once again an addictive essence is at large before the ruinous presence of the song makes way for the similarly intensive and vehement Wülfbaanger. Its body of central riffs and rhythmic prowling is not far removed from that of its predecessor, a comment which can be raised across the album as a minor niggle with some grooves and heavy riffery often showing a lack of distinction from others though it is usually compensated by the sonic invention and unpredictable adventure also revealed, if at times understated.

Bludgeon is as its name implies a heavy-duty and antagonistic confrontation of noise and energy as viscous and black hearted as it is groove catchy whilst next up Burn Them Out sets down another pinnacle to match the opening pair. It is sonically fairer than previous songs but still offering a syrupy toxicity through the senses lapping grooves. It is the hardcore essences though which rage within vocals and the twisted imagination of the guitars that gives something extra to take a great song to the plateau of major incitement. Rhythmically too there is a fresh impetus, an anthemic quality to Von Beek’s enterprise courting grooves and hooks which flirt back with fiery stoner-esque hues. The track is still as inhospitable as anything else upon Defacer but tapping into an open diversity which is not always as keen as elsewhere.

The truculent Warcries is as gladiatorial as you would imagine but within its argumentative brawl of sound and intent, Hogslayer explore an out of the blue and thrilling melodic detour which only adds to and emphasises the overall intensity and impact of the song. Once more bolder imagination and invention is freed to impressive results and without defusing the weight and force of sound around it.

Bastards Of Reality comes next, its doom fuelled carriage of malicious sound and emotion taking the listener into dark, suffocating, and cavernous depths where more striking and riveting strands of sonic endeavour lights up ears and imagination. For seven minutes the track excites as it roams and infests the senses, spilling sonic venom and grievous animosity musically and emotionally, before being emulated in length and impact by This Spiteful Cycle. The new song is simultaneously tortuous and deliciously hypnotic, though its addictive character allows no chance of an easy ride. A favourite element of the band’s sound is the entangled hostility and creativity of guitar and bass, both ripe with their volatile natures, and arguably they are at their most psychotic in the closing song driven on by ever merciless drum provocation. Probably the most testing listen on the album it is a richly satisfying final challenge, though not the last song as there is the hidden bonus of Mealworm for the patient to enjoy, an outstanding slab of psychotic sludge bred, senses corroding rock ‘n’ roll.

Hogslayer has risen to a new level and stature with Despiser, but with the potential for even bigger, fiercer things ahead you feel. The album is excellent but with room for its ideas to be taken further meaning pleasure is rich now but excitement for the future easily as potent.

Despiser is available now via Undergroove Records on CD @ http://undergroove.bigcartel.com/product/hogslayer-defacer-cd and digitally at most online stores.

http://www.hogslayer.co.uk/     https://www.facebook.com/hogslayerband

RingMaster 07/05/20145

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Raketkanon – Rktkn#2

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Barely a handful of weeks back, Belgium band Raketkanon not only ignited but incinerated the passions and imagination with the single Florent. A warped rhythmic dance immersed in a startling and ridiculously compelling tapestry of noise, the song not only announced the introduction to one compelling band but made a riveting and exciting appetising to the album it came from. Now that the release has arrived, and though Rktkn#2 does not always quite live up to that first initial seduction, it makes for one blissfully thrilling proposition.

To be fair when we say the album does not match the earlier appetiser it is not strictly true as where Florent was a swift explosive dig in the ribs of attention and lust, many of the songs within Rktkn#2 provide a slow and intensely simmering temptation which need time to convince and seduce. Ultimately they do though, ensuring every listen is a fresh and perpetually unveiling exploration that is very easy to rigorously enthuse about.

With their name meaning rocket cannon in Dutch, Ghent hailing Raketkanon create an experimental incitement seeded in a wide array of sounds and flavours. From sludge and doom to noise and psychedelic rock, the band’s music has a distinct character and invention which defies comparisons on the whole. Some have offered Melvins and Tomahawk as references whilst we could suggest the likes of Kabul Golf Club, Joy Division, Coilguns, and Young Gods as a hint to their sound but only listening reveals the dark majesty of the compelling drones, incendiary rhythms, and dramatic textures fuelling tracks and release.

10959513_10153103655542112_4720665964608033336_nThe album opens with the aforementioned single and after a torrent of listens when first released, Florent still makes the greatest magnet for the band. As feedback and sonic enticement lead into discord kissed enterprise surrounding an unrelenting prowl of invasive rhythms, the track preys on body and emotions. It has a threat, a danger, and a fascination which just engulfs the ears and psyche. The quartet of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos continue to entrance as scowling vocals from Devos spill from his throat over the expanding web of noise. A post punk tone to the bass also emerges more prominently as the song takes to a meditative respite midway; it’s tempting aligned to twanged guitar endeavour and a calm which is almost as portentous as the returning deranged dance of noise. The song never turns into a raging fire though; its droning reserved and its croon certainly unhinged yet controlled, with only the vocals a bedlamic fury.

With each song titled by a name, Nico Van Der Eeken comes next and it too opens on an immediate bait of slow but focus grabbing beats before creating a spiralling weave of synth brewed intrigue. The effect coated vocals also have a restrained introduction though it cannot stop them bringing inviting mania into the mix. They surprisingly remain ‘subdued’ as the song raises its intensity and voracity, taking centre spot in the quieter moments of a song which despite its energetic pursuits is also nothing less than mesmeric. A flush of hardcore like influence eventually ignites the vocals in an inflamed finale to a song, and end and song leaving thoughts and emotions startled and enslaved.

The following Suzanne has an instant swagger to its lively entrance and a more stoner-esque air to its melodic sultriness, both aligned to the ever vocal and enticing down tuned coaxing of guitars. The track is a more recognisable rock proposal initially, stomping with aggression and energy before wrong-footing with a drop into calm evocative waters, a simple melodic caress accompanying similarly gentle vocals. Of course all that we suggest has another lining to it, a generally indescribable one which festers and grows into something different, here a psychedelic wind of stark and uncomfortable but mentally and physically stimulating trespass growing from the calmed storm.

The albums adventure twists around again with Mathilde, the song a gentle embrace of cold but welcoming guitar and wistful low toned vocals over repetitive and wonderfully hypnotic bait. For three minutes its sombre yet magnetic temptation enthrals before lifting its muscular head and weight with a new angst in riffs and vocals matched by a dark fuelled bassline and fiercely jabbing beats. Doomy and embracing essences of post rock, the song is one of those longer to persuade but emerges as a spellbinding and ever changing sonic emprise of emotional and physical evocation.

Elisa is another long term simmering in regard to getting under the skin but with a spine of rhythmic repetition and eruption into an angst pooled vat of intensity and sonic rapacity it wins out. Exploring a more alternative rock premise whilst continuing to throw in a constant barrage of musical and inventive curveballs, it takes time to grip the passions unlike Ibrahim which has them enslaved within the first few moments of its driving and almost sonically mystical opening. The track is sensational, a rival to the opener and a tantalising maze of spicy endeavour with an imagination bordering on the chaotic yet staying within a sculpted framework, though to be honest that in itself is bordering psychotic.

Straight away another irresistible triumph is unleashed through Harald, a contagion loaded song which is as funky as it gets in a noise woven, distortion fed, and sonic crazed enterprise. Its opening minute is sheer infection but it is when the band unleashes a rhythmic stalking bred from the same wells of invention of a Wire or Gang Of Four that the track kicks off a torrent of lustful reactions. Entangling disorientating sounds, raw vocals, and sonic disturbances, the track sculpts the most enthralling and mouth-watering demented soundscape.

The album closes with the epic Hanz, a track maybe too long for personal tastes though not one moment of its nine minutes is lacking certifiable invention and engrossing ideation. Its low key emergence is soon a continually growing and intensifying brew, harsh but gentle sounds gaining an edge and attitude in many ways before finally breaking into more tempestuous scenery, though that too is just a stage in the evolution of the song. Cinematic, transfixing, and atmospherically brooding, the track eventually finds its heaviest, intrusive touch at its climax. It is a fascinating end to the album if not the most easily accessible without plenty of attention.

As we said at the start, Florent brought high and excited hopes for Rktkn#2 and the scintillating encounter has not let us down. The single forged a plateau for the band’s music which was always going to be hard to persistently match but plenty of tracks within the album do and those missing its ledge still leave a seriously enjoyable and creatively innovative experience to greedily devour. Bottom line is that Raketkanon is a must for all fans of noise, discord, and experimental challenges.

Rktkn#2 is available now via KKK Records @ http://raketkanon.bigcartel.com/ on CD and vinyl and digitally @ https://itunes.apple.com/us/album/rktkn-2/id972774371

Upcoming show dates…

28/04/15 : Stag & Hounds – Bristol

29/04/15 : The Shacklewell Arms – London

30/04/15 : Audio – Glasgow

02/05/15 : Live in Leeds Festival – The Brudenell Social Club

03/05/15 : The Hope – Brighton

http://www.raketkanon.com/   https://www.facebook.com/Raketkanon

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Possessor – Stay Dead

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Like so many we were ravished and bewitched by Electric Hell, the debut album from UK metallers Possessor which was unleashed last year. It was a tremendous persuasion of sound and enterprise reinforced by a retrospective listen of their first EP Wings of Fire, which came out just a few months before that impressive full-length. They have a sound which is raw and voracious yet unafraid to embrace a melodic and sonic toxicity come seduction which is as fierce and flavoursome as the hostile and sinister landscapes it infiltrates. Now band and music has drawn a new lustful submission with new EP Stay Dead, a release realising all the qualities of its predecessors in new and raucously adventurous exploits.

Hailing from London and formed late 2013, the trio breed their insidious temptation masquerading as sound through merging occult metal with sludge and thrash bred hues and tenacity. It is a fusion emerging with a sense of familiarity yet providing distinctly new and incendiary provocations and temptations. They are like a mix of Black Sabbath, Electric Wizard, Kylesa and Therapy?, a hellacious assault on the senses and demonic seducing of the psyche.

cover     The EP opens on a real high of a track and the release never does anything but look down from lofty heights again. Lucifer Stay Dead opens on a rumble of motorbike before descending on the senses swiftly after with a tsunami of riffs from guitarist Graham Bywater and bassist Marc Brereton. With swinging beats just as feverishly hostile and immediate aligned to a sonic enterprise from Bywater sparking early lusty reactions, the track prowls and snarls with bestial irreverence. The song is simply predatory, everything about it soaked in real hunger and antagonistic ferocity. There is no letting up of its intensity either, those ravenous riffs seemingly gaining in strength and appetite across the track whilst rhythms simply grow bigger balls of attitude within a flaming melodic web.

It is an exceptional start matched by Night of Venom straight after, a track which launches itself on the senses with an even heavier and intensive assault. Of course it also comes with that instinctive seduction, an exciting sonic spicing which tempers the viciousness. Brereton’s bass delivers its dirtiest, rabid tones ever though, whilst the contagion of riffs and grooves coring the encounter, like in its predecessor, has a repetitive niggling which simply evolves into an irresistible addiction. This is where that Therapy? essence comes in for us, the song reaping the nature of the same type of persuasion which lit up the N. Ireland trio’s early work.

With it definitely being too short, fair to say you cannot get enough of its primal tempting, the track makes way for Cobwebs, a smiling slice of pop rock. Nah don’t be silly, the song is another portentous stalking of the senses, though to be honest it does have a more respectful swagger to its energy and character too. Of course this is bound in menacing and dark hearted bass growling and just as grizzly riffery, whilst the drums almost call out for mercy such the psychical and gripping sledging they get. It many ways the track is like the darkest Hammer Films of the seventies, its demonic presence and nature wrapped in alluring colourful designs set to entrap before the horror begins.

The EP closes with Lights Out / Crypt of the Sorcerer, the darkest, chilling, and most toxic offering on the release, arguably from Possessor ever. Its classic psych charm is a deceit within a cavernous smothering of devil seeded ensorcellment, the appetiser before a devouring of senses and emotions within a swamp of thrash sculpted riffs and occultist violation. It is sonic smog of seventies and current classic metal twisted and wrung out until breeding its own scorching and intoxicating sludge thick blasphemy. The track is quite simply a thrilling end to another stunning release from Possessor, even with its infernal fade out.

Possessor last year set a plateau with Electric Hell for themselves and the current British occult metal scene, but has now left it behind as a past marker in their emergence with Stay Dead. Maybe only the brave will dare immerse in the world of Possessor but with rewards plentiful and lingering within their aural necromancy, truly no metal /heavy rock fan should fear giving them a go.

The Stay Dead EP is available now via http://possessor.bandcamp.com/album/stay-dead-ep

https://www.facebook.com/possessorband

RingMaster 02/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Treedeon – Lowest Level Reincarnation

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Surely bred in the depths of hell, Lowest Level Reincarnation is the ultimate seduction. Like a Hieronymus Bosch painting, the new album from German noise abusers Treedeon is a visceral kaleidoscope of vibrant addictive aural colours and inescapable temptations within a landscape of sonic and emotional torment. It is bestial, it is carnally intimidating, and it is an all-consuming swamp of savage confrontation but most of all it is one exhilarating trespass of the senses.

Treedeon emerged in 2012 when vocalist/guitarist Arne Heesch and vocalist/bassist Yvonne Ducksworth linked up after the almost simultaneous demise of their respective bands Ulme and Jingo de Lunch. Initially Treedeon was an acoustic proposition and made its live debut at 2012’s South Of Mainstream festival filling in for the by now disbanded Ulme. At this point Christian “Boomer” Böhm linked up with the duo, pledging himself as “the missing link” as he offered to play drums in the band. As songs were written and created, leading to an early demo, there was no escaping the heavier voracious element fuelling their sound, fury audiences soon heard at events like the infamous Roadburn Festival, where the band played as part of Exile On Mainstream’s 15 year anniversary showcase. The digital unveiling of the demo swiftly brewed up attention and buzz around the Berlin trio though it was a mere taster of more corrosively impressive things to come. Recorded at Studio Wong in Berlin last November, Lowest Level Reincarnation sets a striking marker for not only Treedeon but doom/sludge spawned noise punk in general.

The eight track sonic tsunami begins with Love Turns Liquid and immediately has ears and attention on board as the punch of Böhm’s premeditated slow swings rock the senses. It is not hostile bait he lays down but it is imposing and highly anthemic as each incessant jab awakens a keen appetite which is swiftly fed further by the grouchy voice of Ducksworth’s bass and the abrasing causticity of the guitar. Hooks are already flirting from within the building tempest of noise, leaping out on the subsequent sonic smog as Heesch’s grizzled vocals croon expressively and angrily. The rhythmic persistence of the eight minute plus track creates an inescapable trap for instinctive and primal needs whilst the doom soaked crawl of the song simply ignites ears and imagination; the encounter the perfect blend of erosive persuasion and addictive invention.

The following Blankapitation similarly attacks on two fronts, its rhythmic and grooved taunting a commanding contagion whilst the thick sludginess of the guitar’s enterprise is a suffocating and alluring raw embrace. It is the vocals of Ducksworth, who takes the lead this time, which strikingly ignites the track though, her delivery pure punk with an attitude to match. It is a thrilling contrast to the highly pleasing caustic attack of Heesch in the previous song and in his backing here, a creative aural stabbing of ears at times from the lady and a constant roar of belligerence.

Satan’s Need takes over next and within seconds consumes the senses in a tempest of fiercely heavy riffs and matching intensive rhythms, all bound with inflamed heavy grooves. The two singers share the track, duelling rather than dueting across its ravenous and exhausting turbulence. It has a harsh and acerbic canvas but also reveals an underlying swing to beats and grooves which does not temper the tempestuous nature of the encounter but certainly makes its punishment bewitchingly palatable.

Through the superb Extinction with its a rhythmic tempting, which is almost like a call to arms for body and emotions, and a sinisterly hued grooving, and the snarling Wendigo, band and album only heap on further corruptive influence and pleasure. The first of the two is the kind of flirtation you know will only lead to destruction but with the deepest carnivorous bass growl and tart grooves, not forgetting exceptional vocal endeavour, the track is the master of lustful submission. Its successor again embraces a stronger punk rancor in its erosive sonic squall. Ducksworth vocally is a fiery temptress and with basslines predatory confrontation as Heesch creates a warlike maelstrom of antipathy with voice and riffs, the song is an animus which flows in all ways into the equally venomous and scarring Venus With Teeth. There is no shelter from its sonic and intimate enmity or from the transfixing rhythmic craft and enticing of Böhm. It writhes like a plague ridden scavenger, spilling and spewing sonic spite and magnetic invention with every intensive and exciting twist.

The album’s title track worms into the psyche next, its insidious crawl of sound and malevolent emotion encroaching ears like a tar thick virus, consuming every pore whilst immersing the senses and thoughts into the darkest pit of depressive and oppressive toxicity. The song is spellbinding, an infestation of sound and intent you only want to devour more of, even if it provides the longest and darkest twelve minutes of your life.

Lowest Level Reincarnation is completed by the outstanding Terracide, another imaginative torrent of crippling and gripping rhythms aligned to incendiary grooves and impressive vocals from both Ducksworth and Heesch. That imagery of a Bosch composition again seems to fit the track, its presence and premise a sonic opening of hell’s pits.

Treedeon is that nightmare you can never be rid of but truthfully you look forward to, its challenge and adventure a dark and dangerous endeavour but cathartic and seriously rewarding. The same applies to the magnificent Lowest Level Reincarnation, an album sure to expose one intensively exciting prospect to the fiercest spotlights.

Lowest Level Reincarnation is available now via Exile On Mainstream digitally and on CD/vinyl @ http://www.mainstreamrecords.de/shop with its US release in April.

https://www.facebook.com/Treedeon

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Abstracter – Wound Empire

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Thrusting the listener into a doomed physical and emotional landscape, a stark yet compelling void, US doomers Abstracter enchant and suffocate with the impressive Wound Empire. Four tracks to immerse within gleefully whilst expanding into the darkest corners of the psyche, the forty minute long album is a tantalising and fearsome journey though the rawest of climates over uncompromising wastelands.

Wound Empire is the successor to debut album Tomb of Feathers; a new encounter which those in the know suggest finds the Oakland band taking their already acclaimed sound to further reaching intensive heights. Breeding their own bordering on hallucinatory soundscapes within Wound Empire from inspirations which range from essences of Godfesh, Swans, and Neurosis to His Hero is Gone, Blut Aus Nord, Dystopia, and Darkthrone, Abstracter recorded their release with Greg “The Wizard of Doom” Wilkinson (Brainoil, Iron Lung, High On Fire, Noothgrush, OM, Atriarch) last year. Continuing their “fascination with concepts of human decline, cultural and industrial ruin, and complete social collapse,” the band swiftly engulfs and incites from the release’s first breath.

Lightless opens on a sonic breeze, broadening its haunted cold presence through raw caresses of guitar and a resonating heavy bass tone. As the whole of the album’s proposal, the track is a slow expansion of sound but every note and heavy lure offers a potent piece in an emerging picture. Once in full caustically scenic view, riffs gnaw and beckon with corrosive breath and infectious nature whilst the bass turns carnivorous in sound and predation as it prowls the track’s primordial terrain. Oppressively heavy and crushingly merciless, the doom drenched offering surprisingly has a potent swagger and contagiousness to its unsettling presence, a catchiness to enthral and grip ears and body as imagination and emotions are buffeted and ignited by the sonic enterprise.

There is no respite from the cavernous depths and cold of the climate evolved in its predecessor as Open Veins follows; the blackened sludge reaped tar of sound and coarse emotions a FINAL_ABSTRACTER_jacketmelancholic poison seeping over flesh and thought whilst crust caked vocals roar and slowly squally within the invasive doom. Slim but toxic grooves only add to the allure and detached nature of the track, their minimalistic but rich tempting a vine to grip as the rest of the sounds and vocals groan with the breath of hell.

The transfixing presence of Cruciform comes next and by this point the realisation that Wound Empire should definitely be taken as one fluid dose rather than individual apocalyptic descents into glacial prisons is evident. It is fair to say that the track holds none of the almost welcoming traits of its predecessors but still has some form of catchiness to its flight into the heart of the soulless; its sounds binding as they erode air and senses with caustic persistence.

Wound Empire is concluded by Glowing Wounds, a calmer slightly celestial tempting which still remains encased in an immense doom sculpted embrace. The track is as meditative as it is sonically fierce, a lingering flight across radiant hopes but accompanied by an insidious hold of unrelenting blackened malevolence. A masterful end to a seriously riveting encounter, song and album will not be an easy fit for all, but offers a thought and emotion provoking arousal each can take something from. In the dark times and world which encroaches on us all, it is releases like this and its groan of hell rather than most tirades of words which brings the cold reality home.

Wound Empire is released in the US and Europe on February 10th 2015 digitally via Sentient Ruin Laboratories @ http://sentientruin.bandcamp.com/album/wound-empire, on cassette through Sentient Ruin Laboratories and An Out Recordings, on CD by COF Records, and in vinyl version by Fragile Branch Recordings in the US and Vendetta Records, 7Degrees Records, and Shove Records across Europe.

http://abstracterband.com/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Grizzlor – When You Die EP

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With so many releases presenting themselves each and every week it is easy for a fair few gems to slip under the radar without an additional nudge in their direction. Such would probably have happened with the When You Die EP if drummer John from its creators, the noise/dirt rock trio Grizzlor, had not offered an invitation to check out the four-track treat. Released via Money Fire Records, the EP is a raw and ravenous cauldron of noise and voracious intensity which is also unafraid to throw in the heaviest sludge bred endeavour and toxically seductive grooves. There is plenty more to their abrasing tempest of sound too, all revelling in the fuzz filtered tempest the band casts over the senses.

Hailing put of New Haven, Connecticut, Grizzlor was formed in 2013 with vocalist/guitarist Victor and bassist Wade alongside John. Their self-titled debut provided the first statement of noise last year whilst 2014 opened with the release of its successor We’re All Just Aliens, both providing great early hints and clues to the growing emergence and evolution of a sound which has hit a new plateau within When You Die. The band’s third EP can and should be the gateway to the broadest spotlight for the band, as long as there are plenty to nudge it in the direction of unsuspecting ears like ours were previously.

No Time sets the corrosive carnival of predacious sound off in gripping style, its first breath thick voracious smog of crunchy riffs and rumbling rhythms cast in a grizzled throated bass embrace which alone has the juices leaking. Bass and guitar make a ridiculously compelling bait, at times almost Morkobot like in its uncompromising persuasion, whilst the equally raw and honest tones of Victor and the pungent web of beats from John only adds to the lure and drama of the encounter. Grooves flirt from within the oppressive sludginess of the song whilst sonic temptation within the psyche rock seduction of the tempest, is as sultry as it is mesmeric.

The outstanding start leads into the psychotic bedlam that is Plaster Cowboy, manic squalls from Victor the prelude to a rampaging stroll of meaty jabbing beats and an impossibly addictive a3850649878_2bassline. It is soon immersed in a caustic mesh of guitar abrasion, the song twisting and launching in unpredictable and riveting style like a mix of The Screaming Blue Messiahs, Melvins, and KEN Mode. There is also in many ways an element of the senses grazing rabidity which drives The Mad Capsules Markets to the sonic turbulence and tenacity spilling from within the songs creative fury. Adding a delicious strain of surf rock to its melodic acidity too, the track soon steals top honours on the release though it is soon rivalled by the salacious scuzz tempting of Stoned where sludge and noise collude with garage punk and again a surf bred devilry for a compelling seducing of ears and imagination alongside a lingering erosion of the senses.

Closing things up is Mini Spaceships, another provocation of chunky riffs and intensive rhythms ridden by antagonistic vocals. Once more that toxic surf tempting is permeating every pore whilst the seriously captivating ferocity of the beats and grizzly riffs leaves a deep hunger for much more.

There is nothing polished and arguably welcoming to When You Die yet it is one of the most gripping and inescapable joys of the year. It offers music in its rawest and most primal ingenuity with an invention and devilry which only ignites the passions. Noise rock has a new heir to its throne and it is called Grizzlor.

The When You Die EP is available now via Money Fire Records digitally or on 7” vinyl @ http://grizzlordestroys.bandcamp.com/ or http://moneyfirerecords.bandcamp.com/album/when-you-die

http://www.facebook.com/grizzlordestroys

RingMaster 23/12/2014

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