Screaming Finalities: an interview with Jimmy Lundqvist of Entrails


From a ‘false start’ in the early nineties Swedish death metallers Entrails was resurrected by founder and guitarist Jimmy Lundqvist fourteen years later and since then has made an impressive mark with its old school seeded sounds and releases such as second album The Tomb Awaits. New album Raging Death builds on the might of its predecessor whilst twisting the existing malevolence into new tortuous and compelling exploits. Seizing on the chance to find out more with Jimmy we asked about the history of Entrails, the album, and moving through early setbacks.

Hi Jimmy and welcome to the site, many thanks for taking time to talk with us.

You have just released your new album Raging Death, how are feelings in the Entrails camp right now and how have initial responses impacted on you?


We are doing just fine here… It all feels great and we are satisfied with everything so far.

Do you get nervous before releasing an album or is it all excitement?

A little bit of both I would say…

Though this time all excitement was gone a few weeks before the release when there was downloading links everywhere on the internet. That ruined all the fun with the release and every hour and minute we had to use in making this album. I know it’s the modern era now and every band have this problem but it’s a fucking shame that they don’t have any tools to stop this illegal shit.

Before we talk more intently about the album can be look at the history of the band for those new to you. Entrails formed in 1991, what was the spark and inspirations behind the birth of the band?

Well. The boom of the DM bands that came around in the early 90´s and the down tuned guitars and with those riffs and atmospheres… That was Christmas to me… I was completely sold in that style, and there was no doubt in what we were going to play.

This period of the band did not work out and was only around as a working project for around three years, what were the problems which brought the band to a close at that point?

Many things. Crappy recordings, lack of interests, money, contacts, living on the countryside, you name it… Everything was going against Entrails sort of. If we only had managed to make a proper demo I think things would be different… though the dudes in the band back then would have quit anyway as they didn’t have the passion for it as I had. And living so far away from the musicians there was no other options than put it into sleep

Did the frustrations at the time bring lessons and help shape not only the second coming of the band years later but your endeavours between the two periods of Entrails?

Hard to answer as I wasn’t thinking in that direction. But I was more grown up in the second coming and had more focus on the music and a goal to have my demos recorded as they should be.

In that ‘hiatus’ for the band what were you up to musically?

Well… I listened a lot to my influences and tried to follow the music that was made after I quit playing myself. But I didn’t like the new stuff and where the DM was heading so I stopped following that and become more and more stocked to the old stuff. Of course there were new bands coming and they got my support but still the modern shit was not my cup of tea!

2008 saw Entrails resurrected, what was the trigger to this?

Nostalgia and I wanted to record my old music properly. That was the main reasons.

Was it an easy decision to try again or was there some reticence at first about bringing the band back?entrails 2

Not really…It was pretty easy, but I didn’t think of having the band in full scale, only to release the songs as demos or whatever. But when label and organizers wanted us for shows I had to make it complete. And I haven’t regretted a single second about that.

Tell us about the years between steeping back into Entrails and the release of the excellent The Tomb Awaits of 2011, where we first came across you actually.

To make it short; I made those 2 demos in 2009 “Reborn” and “Human Decay” and signed to the label FDA Rekotz winter 2009/2010, then we made the first full length “Tales from the Morgue that spring and we had that one out in the summer 2010, then after that we recruited Adde for the permanent drummer and off we went on a small tour in Germany in November. Then we dealt with labels the whole winter but finally FDA got our signature once again and the work with “Tomb Awaits” could begin.

How have your sound and ideas changed for you since bringing back and reworking tracks for your demo Reborn and the songs seizing the senses on Raging Death?

The sound on the demos was mixed by me…and then I was a complete amateur in doing such so the sound became very thin and didn’t have that punch as I wanted. And after that and when the real albums was going to be made things had to be changed and I contacted Dan Swano at Unisound to do the mixings and from that day he is the guy who does what we want in the sound.

Are there any seeds from your earlier period of songwriting within the new album like previous releases?

Yeah. There are some parts here and there… for an example, ‘Bloodhammer’ is actually the first DM song I made back then. But now it’s a bit longer and have some more stuff added, and also a new title.

As the new album shows you still source your inspiration from the early nineties seeds of Swedish death metal, are you open to other influences though within your creative sparks for songs or intently stay within its influence preferring to expand its particular barriers rather than look into new areas?

Well. Yeah. I have influences from all kinds of stuff… but mostly from the era between 1983-1995. Bands as Helloween, Accept, Iron Maiden, Slayer, Metallica and you name it. The list can be long… it wasn’t´ until 1990 and when I heard DM for the first time I was going on that path

How does the songwriting work within the band now with its stable line-up and creative members?

I make the music into a basic demo and when that´s done the rest add their ideas and changes and from that we rehearse the song into the finish mode. And if lyrics are missing they will be added.

Was the recording of Raging Death approached differently or an experience different to that of Tales From The Morgue and The Tomb Awaits?

Hmm…no… we almost did exactly the same in the recording progress…used a local studio for the drums and then my own studio for the rest and then Dan Swano did the mix/mastering so it was almost the same. Don’t change a winning concept someone told me!

406773_10151479179820238_566315600_nIs there an aspect or moment of Raging Death which gives you particular glow or tingle inside?

Yeah. There are some parts on each song that makes me in a better mood than others but´s only happens in my head. Like perfect changeovers or riffs that really bring your neck swing.

The album feels like it has a stronger snarl and impact in its production than previous releases. Would you agree and if so was it a determined intent or just naturally came about?

That’s cool if you think so… and mostly the album came out naturally so I didn’t have any spectacular or driven goals in it. Many things happens when I sit and record stuff… ideas pops up and I try ‘em out and if they sound good I use it…otherwise I don’t.

I always imagine that when recording songs in the studio ideas are spawned and ignited as a by-product by the process to be logged away for future use. Is this generally the case and if so any gems this time around which might be bred into your next confrontation?

There was more than 10 songs made from the beginning to this third opus but we chose 10 out of them so if we use the rest or if they will be used in another project only future can tell…

This is your first album with Metal Blade Records, has this move given the album and its creation any particular strength or is it really now after release you will find the biggest impact being with the great label?

We worked with the album as we have used to do on the previous ones and Metal Blade didn’t have any specific words in how it should be, only do a great album and do it the Swedish way they said…so I guess the impact will be shown more after the release.

What comes next for Entrails?

In writing at the moment we have done one festival in Germany called Extremefest and after that we will have some vacation and I will sit down and make some new songs and also work with another project along with some friends… yeah it sounds confusing as others would have been on tour promoting their music by now.  But we can’t work in planning tours as the others have so many side projects in the band so we have to await offers and then work from that, but we are having some talks to eventually bring us on a small tour. But´s not confirmed yet.

Again thank you for chatting with us, any last thoughts or words you would like to share?

Well… at:  you can have 100% check on us as it’s there we update and confirm everything. Check it out…

And lastly you were inspired by the likes of Entombed, Dismember, Grave etc. but any bands around now which give you food for thought?

Hmmm…I keep my veins working by listening to the old stuff from 83-95 mostly but if I want to have my veins ice cold I would be listen to technical DM or metalcore or whatever the style is that has no passion and atmosphere to get my veins to work.

Read the review of Raging Death @

Pete RingMaster

The RingMaster Review 08/06/2013

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Entrails – Raging Death

entrails main pic for promo by Emelie M. Hellden

Having been more than impressed by previous album The Tomb Awaits, the release of the third album Raging Death by Swedish death metallers Entrails was met with heightened anticipation. It was a hungry appetite which the band and album easily sated with its expanse of old school enterprise. As since their first day, the sound of the band is soaked in the seeds of Swedish death metal with influences coming from the likes of old Entombed, Dismember, Grave and more towards its caustic annihilatory persuasion and the new album is no different. Also like the previous release the album is not offering anything ground breaking but twisting existing malevolence into new tortuous exploits.

Formed in 1991, Entrail’s start did not bring the band to any real attention, failed attempts at making demos and line-ups changes leading the band to closing down as a project in 1994 until 2008, when band founder and guitarist Jimmy Lundqvist resurrected the band after finding some old Entrails recordings in a tape collection. This led to the band’s debut demo Reborn, a ten track release using original material from their early days brought to life with modern recording technology and fronted by the vocals of Jocke Svensson. Strong reviews fell upon the release and the following Human Decay demo, which again saw Lundqvist providing all the sounds and Svensson the vocals. After signing with German label FDA Rekotz in 2010, the band expanded with guitarist Mathias Nilsson joining the pair as Svensson moved to bass alongside his now permanent vocal duties. The same year saw acclaimed debut album Tales From The Morgue released and the addition of drummer Adde Mitroulis to the line-up as well as the quartet making their live debut again to strong responses. The Tomb Awaits in 2011 brought another elevation in the band’s status   placing the band before worldwide attention.

Raging Death is the first album with Metal Blade Records who the band signed with last year, ten songs of insidious carnivorous Entrails - Raging Deathdeath metal steeped in its origins. The brewing initial breath of In Pieces is the first engagement with the ear, the sinister ambience and gentle breath of the piece a dawning challenge soon exploded into a rabid crawl of sludge intensity and rapacious riffs. Once into its eager stride the track chews on the senses with exhausting hunger and equally depleting energy whilst the rhythmic onslaught of the drums brings bone to dust. It is a compelling and thrilling confrontation with the excellent gut spewing tones of Svensson as impressive as remembered on earlier albums and the track itself a primal aggressor to devour willingly and greedily. There is just one moan and that is with the excellent searing guitar solo which is found within a hollow almost cavernous setting within the song. It is obviously intentional as no other aspect of the track follows suit into the restrictive arms place around it but it feels odd here and on other songs where it emerges, and depletes the strength of the musicianship.

The following Carved to the Bone builds upon and pushes  the strong start to the album, its incessant inciting riffs and sonic persuasion a less intense provocation compared to its predecessor but an equally impacting one, especially with its underlying groove, though again the guitar is unfortunately given that lone distant position in the mix when unleashing its fire.

Through both the brutal predator Bloodhammer and the malevolent Headless Dawn, Entrails continue to savage the senses with craft and enterprise especially in the second with a wonderful haunting melodic central taking of breath before the primal ferocity returns. They are an appetising and invigorating lead in to the strongest and most impressive part of the album where a pair of songs lays waste to the senses and passion with scintillating invention and aggression first hinted at by the closing climax of Headless Dawn.

     Cadaverous Stench immediately stomps over the grave of complacency and predictability, the track a swinging onslaught of contagious grooves and equally addictive riffs whilst both vocals and drums barrack the ear with spite and venomous belligerence. It is an irresistible sonic molestation of the senses with an equally compelling violation of the passions by uncomplicated death metal excellence supported by Descend to the Beyond, a song with a continually shifting gait and a heady mix of melodic and destructive extremes all brought with fire and passion.

The likes of Death League and Defleshed bring further thrilling ruinous and corrosive furies to bear whilst closing track The Cemetery Horrors is a final slab of reptilian filth coated irrepressible extreme metal to unleash further incendiary energy and passion with and to complete a fine and richly pleasing release. Raging Death is not going anywhere no one has ventured before whilst walking with sounds bred in the history of death metal but there is a temptation and hook to it which sets it as one of the more enjoyable and easy to return to genre releases over recent months.


RingMaster 14/05/2013

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Necrocurse: Grip of the Dead

    Necrocurse 2012 photo

    Listening to Grip of the Dead, the debut album from Swedish death metallers Necrocurse you just know some critics and genre fans are going to say we have heard it all before, and though arguably a hash statement you can understand the source of their stance, the band reaping and blossoming already in place seeds sown from the first harvest of the genre, but equally the album is a devious instigator of contagious grooves and impacting insidious devilry which makes the final forceful persuasion in its favour.

The seeds and beginning of Necrocurse began in 2004 as an unofficial project but it was in 2009 that things seriously caught intent with the coming together of a full line-up. Driven by current and former members from the likes of Nifelheim, Swordmaster, Runemagick, Sacramentum, and Deathwitch, the band recorded songs which emerged as a couple of 7″ vinyl EPs on Norwegian label Aftermath Music in 2011, Chaos Carnage Cataclysm and Insane Curse Of Morbidity. A third EP Speed to the Grave appeared a year later as did Shape of Death a collection of tracks re-mastered from the previous releases. 2012 saw the band step into live arenas and making impressive appearances at festivals such as The Gates Festival (Norway), Kill-Town Death Fest (Denmark), and Metal Legacy Festival (Sweden). That September the band ventured into the studio to record their first album alongside Andy La Rocque (King Diamond) with the resulting Grip Of The Dead now having its released through Singapore label Pulverised Records.

There has been a brewing anticipation for the album within the genre and certainly the release does not disappoint even if maybe it M:CAD DrawingsDelgaDelga standard templatesBookletsCD_DPS1fails to reach the rich potential hoped. From the opening Preludium of Devastation, an evocative intro of war, devastation, and scene setting enticement, the album erupts with captivating strength with Necrocurse, a track which immediately lights the senses with fiery guitar temptation, careering drums, and ravenous riffs. The acidic squalls of vocalist Hellbutcher  take a little getting used to but come in caustic waves to temper the initial encounter. They are not the most accessible tones to devour with greed but against the great group vocal efforts and the infectious grooves which break out make a riveting contrast. It is an impressive full opener with the guitar invention and lures of Stefan Rodin and Martin Andersson especially enthralling.

The following Rotten in the Dark and The Devil Cobra bring their individual vicious sonic encroachments with a certain sadistic relish, the first most powerfully through again compelling guitar engagement and uncompromising beats from drummer Nicklas Rudolfsson. The track bristles with contempt and malice whilst at the same time magnetising the senses with its delicious grooved hooks and persistent hungry breath. The second of the pair niggles away at the ear with abrasive drone seeded riffs at first before turning into a maelstrom of unrelenting rhythms, with the bass of Johan Bäckman prowling throughout the storm with menace and heavy intent. Though the song slips below the standards already set it is still an engrossing and contagious encounter with again only the vocals testing patience and acceptance, though Hellbutcher never ignites abhorrence or the wish to move on.

Though tracks like Ripping Darkness (The Destroyer) and Death Metal Rebels hail to spark any strong responses to their certainly accomplished and inventive violations there are veins of imagination and corrosive malevolence which ultimately win the day and opinion. Further thought and emotion grabbing highlights emerge through Speed to the Grave with its carnivorous intensity and shifting gait of blackened heavy metal fury and grooved death metal hunger and the ferocious title track. The song burns and pillages the senses with another weave of classic and death metal savagery and enterprise which ignites the passions into a brawling co-conspirator to malicious mayhem and satanic primal lust. Both songs provide the ammunition to declare the album as an impressive and inciting force which as mentioned is not thick with originality as such but a release which  is impossible not to admire and fall in league with emotionally.

Closing with further ardour grabbing tracks in Coffin Breakers and Infernal Rebellion, the album leaves a strength of satisfaction and pleasure which is not up for debate. Grip of the Dead may not figure in best of lists but certainly will be a release receiving plenty of deserved attention.


RingMaster 22/03/2013

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Reaping the exterior: an interview with Håkan Stuvemark from Skineater


With aggressively sculpted malice borne from its charnel house of blood drenched intensity and bone splintering violence, Dermal Harvest the debut album from Swedish death metallers Skineater, is an impressive and savage pleasure, a release which is equally viciously antagonistic and carnally satisfying. It is an introduction for most to a band which since forming in 2008 has instilled a primal rapture and acclaimed driven attention within a great and growing many. Seizing the opportunity to find out more about the band and its first album we had the pleasure of talking with Skineater founder and guitarist Håkan Stuvemark.

Hi Håkan and welcome to The RingMaster Review, thanks for talking with us.

Hi, it’s always a pleasure!

For those still untouched by the Skineater aggressive scourge of sound tell us about the beginnings of the band. Are we right in thinking the band was a slow moving thing for the first couple of years? What was holding it back from fully emerging or was it an intentional thing to get your sound right?

Yes, you could say we were slow moving, mostly of natural causes .In June 2009 Jeramie Kling and I recorded two songs, He Was Murdered and Dismantling, Which you find as the first two tracks on Dermal Harvest. We had them finished in September or so and sent to a couple of labels and two of them were interested but unfortunately money is an important detail overall more or less, especially in this case with Jeramie in the U.S and me in Sweden. However we worked on that issue every now and then with labels over quite some time and coming to that was kind of long time with no action, loss of great enthusiasm without losing interest though!

What was the driving intent for the band when it started?

It started when I played bass in Vicious now known as GrandExit. I hadn’t played much at all for some years, practically nothing until I joined them in 2007. Autumn 2008 we recorded their third album which I’d written a song for and it was during the recording of that song when I played the guitars etc. I woke up and Hey! This is what I’m supposed to do and I can do! I had found myself again! So that’s what drove me and still is driving me. I left the band a couple of weeks after and intensively writing songs and as you’ve heard it ended up brutal!

2011 saw Carnal Forge and In Thy Dreams drummer Stefan Westerberg join to take bass duties in Skineater, was this arguably the point the band found its impetus to move forward and break free of restraints and recognition shadows?

We had in mind to be become a five member band but as I said earlier “long time with no action……..” Stefan and I got in contact February 2011, he wondered if we needed a bass player. Yeah, sure! Then he was on board. We knew each other since we both played in In Thy Dreams. He was the addition needed, new blood in the band, new energy, another mind.

The members of Skineater have some impressive pedigrees and experience band wise between them; can you give a quick run-down of their histories before the band?

The Swedish metal inbreed haha. Well, the most essential bands of each one of us:

I (Håkan): Wombbath, In Thy Dreams, GrandExit (ex-Vicious)

Stefan: Carnal Forge, In Thy Dreams, Steel Attack, 8 Foot Sativa

Matte: Defleshed, Dark Funeral, Sportlov, Raised Fist

Jörgen: The Mary Major

Kari: Mourning Sign, Amaran

The band signed with Pulverised Records for the release of your debut album Dermal Harvest, what did the label offer which drew you to them?389264_288275817916734_1801045964_n

Yes, we ended up there on Pulverised. About the new energy and blood to the band, when Stefan joined the two of us began chasing more deals and Pulverised showed interest and over some discussion with them and contract adjustments they had us. It fitted our plans, recording deals and all that. All seemed just fine!

Dermal Harvest we called a charnel house of blood drenched intensity and bone splintering violence, and though we felt it was not ‘re-inventing the wheel ‘, it was an impressive and savage antagonist which you can only devour greedily. How would you describe it to newcomers and are we fair with all our points?

I think you got it quite right! Groin crushing, cocky death metal in an excellent blend for everyone!

The album was recorded at various locations? Was this intentional or just the things which new bands have to deal with through finance and opportunity challenges?

It’s in many ways very practical, especially due to that we are living spread over Sweden. Would work for me as I live only 25 km from Västerås where the studio is but for Stefan and Jörgen it is 400-700 km’s one way. Economic disaster to commute. We recorded the drums in the studio and the other instruments at our own places then we sent it all to Studio Underground for re-amping, mixing and mastering.

Tell us about the recording of the album, and how long the release was in coming alive from its first seeds to release.

I think we can refer a little to the previous question about the recording. However, the recording began in August 2011 when we recorded the drums. Later, maybe in November I started to record the guitars, Jörgen had been working on the vocals for a while at that time. On top of that it was the bass, must have been February 2012 and last of all Petri Kussisto recorded his guitar solos in his studio and sent them to Studio Underground. The album was completely mixed and mastered in June that year and released in February this year (2013).

Did the album evolve much during the actual recording from the original demo ideas?

We had solid demo songs/sketches but we improved practically every song. There’s always something you wanna change, small details and new ideas coming up

From an impressive start Dermal Harvest for us built up song by song to its biggest triumphs and intrusive might. How did you go about setting the track order on the album, did as much thought go into that as say the production and the art theme?

We wanted to give the listeners a good album from start ‘til end so we listened quite a lot and spent some thinking over the tracks and order. It turned out very well!

Talking about the artwork, who created the excellent cover art?

Mattias Björkbacka made it. He also produced the video for the song Dismantling we recently premiered.

skineaterThe art depicts perfectly the lyrical and sonic predatory hunger and intensity of the album, did Mattias have sounds to work with, be inspired by first from you?

Mattias and I know each other so he’d heard more than one song for sure. He and I talked a lot about what the cover should look like, many ideas and details in the air. You know, one idea leads to another which leads to yet another and so on and this Ended up in perfection!

Is there a moment of the album which you feel is Skineater at its most potent, shows the purest breath of the band?

Only one and short answer on that…On every song!

What are your hopes for the album in the progress of the band and where are you taking it out live to share its glories?

That we reach out even more; get new fans which in their order will spread our word. We are hoping to get some live shows now. The album was released early which is good and festival shows would really be something. Of course other shows too!

Again thank you for talking with us. Any parting words you would like to offer?

Thank You! That’s the hardest question! -Spread our word folks in our way to conquer the scene!

Read the review of Dermal Harvest @

Interviewer Pete RingMaster

The RingMaster Review 21/03/2013

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Skineater: Dermal Harvest

    Skineater photo

    Rife with sabre sharp sonics and a carnal malevolence transferred through destructively precise riffing and viciously antagonistic rhythms, Dermal Harvest the debut album from Swedish death metallers Skineater, is an impressive and savage pleasure which leaves pure satisfaction and pleasure in its annihilatory wake. Arguably the album is not venturing into new realms but with its aggressively sculpted malice and charnel house of blood drenched intensity and bone splintering violence it does not need to be to ignite the passions.

Skineater was formed in 2008 by guitarist Håkan Stuvemark (ex – Wombbath, In Thy Dreams, and Vicious) upon leaving as bass player in GrandExit. Moving back to his main instrument he recruited drummer Jeramie Kling, drummer in The Absence, Infernaeon , and Ninety Minute, with the pair recording two songs the following year. It was not until 2011 though that the project found impetus with Stefan Westerberg  (ex- Carnal Forge, In Thy Dreams, World Below, and Steel Attack) taking up the bassist position in the band. Soon after signing with Pulverised Records with whom the album is released, the band expanded further with the addition of guitarist Kari Kainulainen (ex – Mourning Sign and Amaran), vocalist Jörgen Ström (The Mary Major), and replacing Kling, drummer Matte Modin (Raised Fist, ex – Dark Funeral, Defleshed, and Sportlov). Recorded at various locations with mixing and mastering at Studio Underground (Carnal Forge, Steel Attack, Fleshcrawl, Necrodeath) in Sweden, Dermal Harvest is an irresistible result of a group of veteran musicians unleashing a fresh and voracious passion and sound which has maybe been festering within over the years, such its organic and instinctive animosity musically and lyrically.

     He Was Murdered makes the first rapier like incision into the senses though its finesse only follows a bludgeoning entrance from Dermal Harvest Coverriffs and rhythms  with vocals squalls casting acid on the ear like venom filled cluster bombs. With a slight aside in energy for the guitars to seep their own tightly weaved sonic  malevolence, the track forges a violent intrusion with blistering guitar play and crippling drums assaults menacingly accompanied by the delicious malefaction of the bass. It is a snarling brawling encounter which exhausts the energies whilst leaving one simultaneously enthused and ignited by primal intent.

The following Dismantling and Your Life Is Mine continue the ravaging assault on the person mentally and physically, both tracks raw and unrelenting in their abrasive animosity and unforgiving ferociousness. Like the opener they also entwine moments of sheer melodic beauty which are as unpredictable and rewarding as they are unexpected and warmly welcomed as some respite within the towering destruction surrounding them. The guitar play and invention of Stuvemark and Kainulainen is exceptional and their imaginative quieter melodic addresses sit perfectly within the tempests without any seam or drop in fluidity present.

In hindsight though immensely impressive and pleasing in their company, the first trio of songs are mere appetisers which certainly leave the listener enlivened but not as fulfilled as tracks like Made Of Godsick manage to achieve such their triumph. It is at this point that the album fully fires up its heart and furnace to wreak the strongest havoc and pleasure upon the person. The song is a riveting construct of quarrelsome fervour and burning invention which sows the deepest pleasures within. It is a mordant storm musically and in intensity equalled by the excellent and sonically rabid Through The Empire and then exceeded by the sensational Stab. This track strips, grinds, and seduces the senses and emotions throughout, its passage insistent, unrelenting, and sizzling with melodic flames, scorching imagination, and predatory hunger. The best track on the album it sums up the wonderful grotesque that is Skineater perfectly.

The rapacious, and perversely addictive Drifting is another major player of the passions, its greed and hunger musically and violently pure hellacious manna for the heart. Again it shows just how masterful and skilful the band is as individuals but also as a unit and combining the melodic side of the genre to outright volcanic metal fury.

Dermal Harvest is an exceptional release which leaves one smouldering contently under its aggression and quality, and also possibly whimpering. Yes it is not breaking new ground but it is using the essences of the genre in a way not many others can contemplate let alone employ. If the likes of Morbid Angel, Cannibal Corpse, Bloodbath, and Hypocrisy exploit your passions, than Skineater is a band for you.


RingMaster 21/02/2013

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Ulcer: Grant us Death

Ulcer photo

    Grant us Death from Polish death metallers Ulcer is a release which does not really ignite any fires of passion for its admittedly accomplished and impressively crafted musical animosity but it is still a release you can happily and want to come back to time and time again. Enriched in the depths of old school Swedish death metal, the album is a nasty violent cacophony of exhausting and malicious intensity engineered through raptorial riffs and blood thirsty rhythms for a more than pleasing confrontation.

Formed in 2006 by guitarist Lucass as initially a solo project for himself, the band soon grew with the addition of vocalist D.ssipline, guitarist Mścisław, and bassist Kuba. Two demos A Property of God? in 2006 and Slitwrist Society the following year were recorded though never released, each just spread amongst fans. As Kuba left the band second vocalist Angelfuck joined up and debut album Serpent Trinity was recorded in the summer of 2007, though again it was not released, just passed around like the previous  demos. A period of quiet and ‘inactivity’ followed before the band re-emerged in 2011 with drummer Vizun and bassist Kamil added to the ranks.  With a change in musical direction and new material primed to be unleashed, the band which features present and past members from Deivos, Blaze Of Perdition, Squash Bowels, and Azarath, signed with Pulverised Records, Grant Us Death their first voracious full assault upon the world.

The title track emerges from a melodic invitation within a foreboding ambience which gives no real essence of the decayed inferno Grant Us Death Coverto come. It is a ravenous assault with caustic vocals complimented by group shouts bristling upon uncompromising rhythms and a gnarly intent and sound from bass and intimidating guitar riffs. It does not exactly trigger mass euphoria but the track leaves one bursting with eagerness to delve deeper in to the album whilst basking in the already impressive corrosive malevolence on offer.

The strong start is elevated by the following Devilspeed, the start of a trend as the following Bloodpainted Salvation and The Love Song each take the album to ascending plateaus. The first of the trio is an adrenaline charged surge of rampant riffs and demanding rhythms crossed with malice soaked vocal squalls. Like the majority of the album the intensity created by guitars and bass saw across and ravage the ear with little relief or mercy but still leave one enthralled and eager for more of their violating presence. Bloodpainted Salvation pins the listener to the floor by the ear and savages the senses with further annihilatory intent and skilfully sculpted violence whilst the last of the trio is an inspiring furnace of rabid intensity and predatory synapse bruising sonic barbarity infused with a magnetic melodic teasing which takes the track impressively away from the pack.

From here as good as the likes of Godcremation, Devialize, and My Lord Has Horns are, the album fails to find the same heights again but nevertheless leaves a full satisfaction for the senses to devour with the inventive and accomplished sounds displayed to ensure the release is a formidable and appetising proposition again and again.

The closing track When Horror Comes brings a different flavour to the album and does give the album a heightened departure. Its mix of blackened death metal and almost gothic metal like vocal mesmerism captivates the imagination from start to finish, the constant harshly grizzled riffs and energy stretched and embellished with potent shadows and rich sonic flames to leave intrigue and a sustained appetite to follow the creative exploits of the band as they evolve further.

With an exclusive macabre painting by Bartek Kurzok (Abigail, Demonic Slaughter, Goat Tyrant) for its artwork, Grant Us Death is an album deserving of attention and a release fans of bands such as  Entombed, Nihilist, and Autopsy will find plenty of maybe not original but well-crafted and passionate sounds within.


RingMaster 21/02/2013

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In-Sight : From The Depths


    From The Depths is the thumping latest album from Italian metallers In-Sight, a release which just grabs the imagination and takes it on an inventive dance of melodic death metal with the emphasis on the former. It is a thrilling release which as our first introduction to the band is one of the biggest rewards of the year for the passions.

The band began with a Swedish death metal sound in 1996 on the impetus of drummer Gianluca ‘Mek’ Melchiori. In-Sight had decent success with their three self released EPs and good acclaim for their live performances which took them around Italy and Switzerland. It was in 2009 though after a lull for the band that Mek reorganised the line-up and brought in vocalists Andrea Pecora and Emanuela Antonelli, guitarist Mattia Stilo, and bassist Cesare  Montagner. This brought on a new spirit and energy which impacted on the more melody driven sounds being created. 2011 saw the band record From The Depths and this year the signing with logic(il)logic Records for its release and also the further addition of second guitarist Riccardo Picchi to the ranks. The album now unleashed on the world sees a band which with still some uniqueness to find to its voice stands apart from most similarly driven artists. This was as mentioned the first time the band has graced our ears and the most pleasurable surprise and experience it has been.

So many things stand out on the album from the superbly crafted and structured songs, the mouth-watering musicianship, and the ftdcolossal mix of beauty, intensity, and wilting power. The other tremendous asset the band and release has is the dual female and male attack of the vocalists, both riveting and the perfect union in their individual extremes. Antonelli has a glorious voice, full of grace and power whilst Pecore growls and bruises the senses with a vicious squall of a tone which ignites the primal instincts inside, though he can vary the assault to offer a good texture to his delivery. It is an excellent mix which with its successful formula sets the band apart in that aspect.

Starting with a brief piano led atmospheric instrumental intro the album opens up its full multi-faceted stance with Mind The Light. It takes no time in offloading hungry riffs and pummelling rhythms for the ear to willingly consume before the golden tones of Antonelli lights the skies. As the aural coarseness of Pecore joins the affair and the guitars conjure grooves to spark emotions into life, the song settles into a classic breath with sinewy provocations. It is nothing particularly ground breaking but wholly compulsive and inspiringly invigorating.

The following tracks just elevate things further; Winding Coil is a sensational rub of sonics and staggering harmonies with especially vocally, the almost duelling presence of the two singers a captivating ingenuity and maybe their finest moment on the album, though they push that thought throughout. The track is an intense and vibrant fire of sound and energy which leaves one drooling in musical lust which is soon satisfied further by Frost Hate and Insight. The first of the two brawls with the ear vocally and sonically whilst Antonelli veins it all with delicious elegance through her caressing tones. The second of the pair is a less forceful encounter though it does not shirk on bone snapping riffs and jolting rhythms to intimidate behind the white hot melodic weaves of imagination and sound. It is just another in a blistering confrontation of high quality senses enthralling songs within From The Depths.

As impressive as Parasite and Rary are they drift away from the levels of the previous songs a little, though it is down to the greatness already unleashed rather than their limitations and the band are soon forging another pinnacle with the insatiable hunger of For the Sake of the Show. The song claws at and gnaws on the ear from start to finish with even the ever fine wonder of the female harmonies and vocals unable to soothe the corrosive impact of the song. It is a triumph which leaves thoughts and senses wasted, a tempest of true pleasure.

Closing on Informulation (2011), a track which demands little but gives plenty, From The Depths is a real gem of the year. In-Sight is a band all fans of the likes of In Flames, Soilwork, Dark Tranquillity, and Scar Symmetry, need to track down. This band deserves wide recognition, no question.

RingMaster 19/12/2012

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