Synapses – Devoutness

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Making our first acquaintance with Italian death metallers Synapses through their new album Devoutness, it is fair to say that ears and psyche were bewitched, certainly brutalised and twisted this way and that too by their hellacious sound, but ultimately mesmerised by the maelstrom they conjure. Twelve tracks of unrelenting technical death metal, the album is pure bedlam, an ordered and finely crafted mayhem, but invigorating bedlam all the same and quite irresistible. Discord and off-kilter ingenuity is as rampant in the tapestry of sound fuelling each track as fierce imagination and rabid aggression, with Devoutness overall, one insatiable and thrilling erosion of the senses.

Hailing from Brescia, Synapses was formed in 2008 by guitarist Alessio “Ciulaz” Fassoli, vocalist Giovanni “Kane” Canedoli, and bassist Giordano “Sez” Savoldi after the demise of their previous band Underhate. Quickly enlisting drummer Riccardo “Cannibale” Fanara, the quartet set about creating “modern, violent and frenetic death metal, which has its roots in the 90’s, but with the awareness of a more modern sound.” A promo appeared in 2009 to stir up attention, with the band debuting their presence and fury on the live scene soon after to increasing success. Debut album Expiation was unleashed in 2012 to swift and generally acclaimed attention, its arrival backed by a tour around Europe and shows within their homeland. Last year Synapses set about writing and creating Devoutness, a release in our humble opinion destined to put the band on the most intensive extreme metal maps.

SYNAPSES_DEVOUTNESS_COVER_RingMaster Review   The provocative Intro starts things off, its chilling atmosphere and dystopian ambience invasive as it sets up an expulsion of enthralling sound and craft. Once into its instrumental stride, the piece lays the technical foundation for the album musically with that still immersive stark air setting the lyrical tone, both quickly taken to new levels by Spiral of Devoutness. Another dose of haunted scenery grips ears before quickly erupting in ferocious artillery of rhythmic venom and similarly malevolent riffery. At its centre there is also a magnetically tenacious swing, the track for all its brutality ridiculously contagious as guitar and bass groove like pole dancers around the toxic spine of the assault. Quickly imagination comes into play too, the song, and not for the last time in its body, seemingly slipping away before starting up the whole creative ball game all over again, with even more destructive tendencies and hardcore bred belligerence joining every fresh twist in the design.

The scintillating trespass of body and emotions continues and escalates within the following Legates Of Tyranny. From its first breath the track is darker, more malicious, and uncompromising than the last, soon devouring ears and scoring the senses whilst also carrying its own intensely catchy weaponry of temptation. The flesh scarring tones of Canedoli almost wear the blood of the vocalist’s surely torn throat such his raw and caustic delivery, and initially against the cleaner but no less intrusive sounds, it took a while to get on with his attack. By the second and definitely the third listen though, everything slips into place and as the third track shows, sparks a real appetite for what is on offer.

Force-Fed With Gore is a torrent of searing and sudden twists aligned to concussive rhythms and predatory grooves, and the most unpredictable and exploratory track so far upon Devoutness. It is still driven by a primal intensity and want, but shaped by captivating guitar ideation and splintered with unexpected detours which, even if for mere seconds, wrong-foot and enthral. It is a template which is stretched further across the rest of the album, the next up A Place Will Be Forgotten craving a whirlwind of sonic tendrils around rhythmic hostility and after another momentary pause, spewing a rabidity of carnal viciousness infused with melodic acidity. As you can already surmise, things constantly are in a state of change and the song continues to cast a salaciously punishing but compelling dance impossible to turn your back on.

A climatic detour into a sonically blistered and melodically provocative soundscape comes next in Hybrid Soul, before Phoenix Condemned spills its animus of sound and intent, vocals an inhospitable and dirty scourge against the imposing tang of the guitars’ enterprise and ruinous creative spite. It is a rancor though rippling with contagious toxins and fiercely addictive virulence, a brutalising which simultaneously seduces.

Day Of The Pest steps forward to grab a favourite position within Devoutness, the track cancerous in heart and tone but set spinning by delicious discord caked slithers of guitar and spikily cantankerous rhythms matched by ravenously jagged riffery. As all tracks in their individual ways, it is a kaleidoscope of invention and malice, relentlessly fascinating and uncompromising but, even as mighty as it is, quickly outshone by the psychotic imagination and craft of Expiation. The instrumental overwhelms ears and immerses the imagination in a carnal look at a busy and selfish world; the track sure to inspire different journeys and thoughts in each of those coursing through its evocative landscape but sure to inspire.

Both Sacrilegious and Sickening Runes inflame ears and incite greedier hunger for their pestilential ingenuity. The first has poisonous mystique flowing through the sonic veins of its grooves and barbarous animosity soaking vocals and intensity, every minute of the song a searing and bruising threat whilst its successor is a furnace of crippling bad blooded craft bred by the skills of Savoldi and Fanara and bound in the jaundiced and exhausting energy and imagination of Fassoli. Both tracks leave the senses disorientated and pleasure full before The End brings the outstanding release to an exhilarating conclusion. It is apocalyptic, haunting, and overwhelming in its immersive qualities; another instrumental that simply and impressively isolates the listener from the real world.

Devoutness is one of the extreme metal highlights of 2015 so far. There is very little to temper enthused words for its cruel and thrilling alchemy, only the small drop out of sound as tracks turn in on themselves and the band swings in potent breakdowns a niggle, but as our promo was digital we will put it down to that, and if not it is nothing to diminish the craft, temptation, and adventure Synapses set free throughout. Quite simply Devoutness is a must check out for all death and technical extreme metal fans.

Devoutness is available from August 4th @ http://synapses.bigcartel.com/

https://www.facebook.com/Synapses.official

RingMaster 03/08/2015

Copyright RingMaster: MyFreeCopyright

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Ferium – Reflections

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Parading a roaring muscular sound built from numerous metallic essences around a death metal spine, Israeli metallers Ferium more than lives up to the brewing buzz around them with debut album Reflections. Twelve slabs of creative brutality and imaginatively skilled endeavour, the release is a formidable and striking big step into the wider metal world, one which hits hard and impressively initially but only truly reveals its depths and strengths and those of the band across numerous exploits with its intrusive presence. The quintet delves into the rich wells of groove, technical, general extreme metal and more to enhance their core viciousness and persuasion, a fusion as proven by their first full-length which is something not exactly unique but definitely seizing attention and a hungry appetite as it starts setting its own path now and for the future.

Ferium was formed in 2006 taking initial inspirations of Pantera and Lamb Of God into their intent though that expanded over the years with influences from the likes of Textures, Gojira, and Death adding to the fuel driving their invention. Equally growing up in Haifa and the situation in their country has added depth to the lyrical and musical side of their emergence. The band does not directly or openly explore any aspect of the conflict and climate they grew within and felt personally but it is scenery which has brought a raw and uncompromising breath to their sound and presence. Their first release, The New Law EP in 2009 took the band into a strong spotlight at home and further afield, helping to lead Ferium to appearances at big home events such as Summer Carnage and Hallejujahas well as those abroad like Wacken 2009. Last year saw a more intensive time for the band, tours supporting The Agonist, Threat Signal, Mors Principium Est, and Dawn Heist around Europe and the UK following a show opening for Gojira in Israel. The end of 2013 was marked by the band signing a deal with Transcend Music and the worldwide distribution for the 2012 recorded Reflections, a release you sense could open up a highly receptive hunger for their presence.

Opening track By The Book lays an initial abrasive guitar coaxing upon the ears, a sonic wind brewing alongside it before being punctured Reflections Coverby the heavy probing rhythms of drummer Ron Amar. It is an intriguing start, one offering various options of where the song and album might go without revealing anything too soon. It is not long though before the drums increase their pressure, the bass of Yoni Biton closes in with dark intensive shadows, and the guitars of Elram Boxer and Guy Goldenberg sculpt a weave of tight grooves and searing riffs to transfix thoughts and emotions. With the harsh yet welcoming vocal abrasion of Tiran Ezra unleashing the first narrative, the track wakes up eager attention early, leading it into a magnetic fascination which in turn ignites the imagination. The thrilling song does not really explode at any point but is a constant blaze of invention and technical prowess which is stretched to more dramatic adventures across the album, in fact right away with DownHill From Nothing.

The second song entwines the ears in an infection fuelled groove from its first breath, the guitars seducing with full potency as bass and drums badger the senses into another swift submission. Again the vocals graze and roar with an unbridled causticity but only to accentuate the virulent lure of the song. The bass of Biton prowls and growls with understated but open ingenuity throughout the tempestuous offering yet it is the work of Boxer and Goldenberg which more often than not steals the focus upon the song, the melodies and emotive designs from their strings richly colouring song and imagination. Like the first it has an inescapable contagion to its enterprise and especially its grooved bait, and like its successor draws a greedy appetite for its invention.

Both The Very Existence and Mirror exploit an already eager attention with their individual persuasions, the first creating a weave of djent seeded technical manipulation with an almost thrash spawned antagonistic fury of death metal with metalcore bred essences. It is heavier and more intense than its predecessors without dismissing any of the melodically nurtured sonic exploration which marked their success. With a strong evocative ambience also washing the canvas of the song it is a thought provoking and longer to convince encounter, as is its successor though both refuse to relinquish the grip already seized by the release. The second of these two squall over and ravage the senses with again a stronger rabidity; vocally and rhythmically the track an abusive suasion whilst sonically it sears air and flesh, the combination another offering to feed the hunger inside.

The entrance of Side Effects is exceptional, an intimidating but irresistible gentle tempting from the guitars and the perfect lure into the spiteful aggression to follow. Its gait is almost stalking the ears whilst the outstanding bass hook and acidic guitar toxicity steals the passions below an unreserved rhythmic provocation. Its masterful adventure is replaced by the instrumental The Black Eyes, a piece ripe with classical keys elegance and scuzz surfaced energy. It is music which builds its size and intensity across its skilful narrative, inviting the imagination to cast its own tale though it is less successful with the passions especially with the bestial Lust Fool bursting in right away. It is a bear of a song, muscles holding sway within the black density and throat of the onslaught whilst the guitars lash and rhythms pummel the senses around the ever malicious vocals. It is a drama fuelled, adrenaline driven monstrosity of an encounter and thoroughly scintillating.

After the similarly predacious Caustic Value, an intrusion which easily feeds wants without lighting fires, the album takes another upturn with the brilliant Change Of Winds soon matched by Business On Demand. The first of the two romps with and dancing over ears and senses with grooves and jagged riffery from its first second, the track gnawing, jarring, and disorientating senses magnificently whilst Ezra riles syllables and tones for an equally malevolently textured assault, his variety in delivery a constant pleasure. The track twists and lurches wonderfully, all the time depleting energy and scything slices from the synapses until an exhausted pleasure lies in its wake, one soon re-energised by its successor. An open and familiar groove leads the way under the persistent cosh of rhythms and barracking riffs, the temptation recruiting full allegiance for the subsequent savagery vocally and musically which envelops the still dominant groove cast toxins.  Both tracks provide the pinnacle of the album and the band’s songwriting in brutality and epidemic seduction.

The album is concluded by Blood and its title track, the pair insatiable trespasses bringing an outstanding release to a mighty end, the first of the two an insidiously nasty demonic capture of ears and beyond whilst the last song simply churns up and suffocates emotions with mouthwatering invention and crippling intensity respectively. Wrapped in excellent artwork from Eliran Kantor (Hatebreed, Sodom, Atheist), Reflections is extreme metal of the highest order and shows Ferium as having the potential of forging truly major horizons ahead whilst giving a rather breath-taking treat for the now.

http://www.feriumband.com/

9/10

RingMaster 07/04/2014

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Dichotomy – Paradigms

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Turning the air into a whirling dervish of sonic antagonism and invigorating confrontation, Paradigms the debut album from Irish technical death metallers Dichotomy, is an introduction not to be taken lightly. The eight track tempest of skill and aggression instantly sets the Dublin quintet as one of the most formidable emerging predators within European metal. Veined by acidic melodic enterprise which leaves breath a rare commodity and superbly crafted intrusive riffing offering intensive but welcome scars the album is a scintillating piece of creative corrosion that marks the band as a dramatically promising and already accomplished force.

Formed in 2010 by guitarists Rats and Andy Kealy with the idea to merge the technicality of death metal with the groove and defined essences of other genres whilst feeding off the inspirations of bands such as Death, Necrophagist, Gojira, and Opeth, the band was soon making a strong impression in the Irish underground scene. With vocalist Kev O’Connor and drummer Dave Fay alongside the pair, Dichotomy was an immediate attraction and with a line-up soon completed by bassist Neil Coburn the five-piece was earning an intense reputation for their live performances and scintillating sound.  Recording their first release in the summer of 2012 at the esteemed Westland Studios in Dublin, Dichotomy is set to extend their success over the widest arena with the unleashing of their self-released beast of a record. As brutal and seductive as you could wish Paradigms is set to enslave the passions of legions of new followers one suspects, certainly leave them basking in its annihilatory wake.

The album opens with the brief instrumental Empyrean, the tender guitar led piece giving no hint of what is to follow in sound or Dichotomy Album Coverintensity. It is a nicely composed welcome but to be honest underwhelming, certainly in hindsight once The Sentient Oppressed opens its jaws of aural fascination and technical manipulation to sucks senses and thoughts into its heavy consuming heart. From the first seconds riffs are scrubbing the surface of the ear whilst mini grooves tease within the brewing wounds. Compounded by the hard fisted rhythms of Fay it is a startling trap eagerly devoured and explored by emotions. Into its textured depths with the vocals of O’Connor scowling with a squalling maelstrom of malevolence, the guitars of Rat and Kealy parade incisive flames of melodic venom and sonic toxicity to ignite further satisfaction whilst the Bass of Coburn prowls and adds greater shadow to the contagious blaze, though there are moments here and through the album where he sinks within the thick assault to be a presence rather than a strong flavour though admittedly making up for it when he is coaxed with clarity.

It is a staggering full start which as the album evolves its temptation only gets better. Both All-Seeing Eye and Polarity have emotions grinning broadly, the first expelling a torrent of vocal causticness over a deliciously niggling sonic guitar persuasion and the unbridled and exhaustive rhythmic barrage of Fay. Like its predecessor it is an immediate titanic lure before which defences crumble and hunger takes on predacious heights to match the intensity and creative greed of the song. The song mixes up a fluid unrelenting attack with mighty swipes at the senses brought by concrete riffs and steely beats crossed by the sabre like technical invention and flames of the guitars. It is a thunderous pinnacle swiftly matched by its successor. The song is a more deviously considered encounter, a rapacious pack like approach from the songwriting and sounds challenging the ear and beyond in comparison to the tsunami savagery of the previous track but not lacking in the artillery to flatten walls and doubts before letting the bewitching guitar play and imagination to scorch the debris.

Vocally O‘Connor deviates very little from his core delivery but where others may push limits and patience, here it works as another bestial string to the creative bow and ruinous sonic resourcefulness, the voracious No Catharsis the next destructive proof. Once more the guitar work is a tantalising almost bewildering furnace of pleasure and open ingenuity caged by the most vicious and explosive rhythmic avalanche of venomous skill and rapacity. Mere words cannot truly relay the potency and power of the song, or release come to that, but it powerfully confirms the earlier suggestion that the release just gets zealously better and more impressive, this song taking top honours on the album closely badgered by the likes of the primal Covenant of the Foresworn and the evocative instrumental Alea Iacta Est, a piece that unites beauty and a sonic beast for an enthralling and imagination lighting narrative.

The senses burning malefactor Of Strife Of Discord completes an exceptional and intoxication debut from Dichotomy. As savage as it is aesthetically wondrous, Paradigms simply declares its creators as one of the most exciting new antagonists to widely hit European metal this year.

www.facebook.com/dichotomyireland

9/10

RingMaster 14/08/2013

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Spheron – Ecstasy of God

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Hailing from Ludwigshafen in Germany, technical death metallers Spheron has announced themselves in fine brutal style with their debut album Ecstasy of God. Released via Apostasy Record, the twelve track attack of sadistic and adventurous extreme metal is an imposing and dynamic introduction which leaves no question whilst exciting the passions that the band is one with a rich imposing future ahead of them.

Formed in 2008, the quintet certainly drew strong attention with their previous EP To Dissect Paper in 2010 which followed their demo of two years earlier, but Ecstasy of God finds them ripping into even greater invention and imagination with their diverse blend of technical and death metal loaded with many more flavoursome essences. Though arguably it is not an album to probably challenge best of lists come the twilight of the year it certainly is one of the most thrilling and impressive debut full lengths of recent months which whilst satisfying every want in extreme metal still suggests there is plenty left for the band to explore and develop within themselves.

Produced with Christoph Brandes at Iguana Studios, Ecstasy of God impresses immediately with the instrumental A Means to cdarc011_spheron_eog_300dpian End, its inviting and drama suggesting melodic enterprise a potent persuasion drawing thoughts and senses into its rich embrace before allowing the following predatory The Beheaded Coachman to go for the jugular. Opening with a deliciously menacing and inventive bass stalking from Matthias Minor as the guitar of Tobias Alter sprays irresistible sonics across the sky of the impending storm and Mark Walther employs his contagious riffs, the second song is an instant big hook which once having caught the passions allows a raging tempest of concussive rhythms from Tobias Blach and deep drilling riffs to dance insidiously through the ear. It is a burning and scintillating fury with the guttural rapacious vocals of Daniel Spoor ruling venomously. It is also unafraid to tease and torment with unpredictable and fascinating melodic asides, almost breathers of beauty sent to taunt within the continuing torrent of exhaustive and aggressive invention. It is an outstanding beast which maybe is never quite matched but certainly given a continual close run for its money across the album.

The bestial Prestige of the Mortals savages the senses next, another exceptional bass confrontation coring the heart of the breath stealing avalanche of crushing rhythms and destructive riffing. Once again the band twists into the fire excellent sonic ingenuity and melodic flames which scorch the already bruised flesh of the ear and beyond as the varied vocal onslaught complements the invention with relish. It tenderises senses and thoughts throughout before passing on its victim to Saturnian Satellites and Clasp the Thorns to explore and manipulate even further and deeper. The first is an incessant fevered blaze of sonic colouring within a serpentine dark dwelling intensity whilst its successor smoulders initially with melodic evocation and sonic weaves caged in occasional rhythmic expulsions. Across its length that slow burning engagement is a constant invitation though once more the band infuses it with a constantly enthralling and explosive inventive intent, in sound, imagination, and pace.

The evocative melodic ‘interlude’ Prelude to the Misery is a soothing if sinister kiss within the ferocity though soon a distant memory as the voracious Five Degrees returns the album to a ravenous unpredictable storm. Further major highlights come with the corrosively intense Tragedy of the Clerics and another expertly imaginative melodic escape in Anthropogenic. The second song leads into the closing slow lumbering prowl of From Glint to Crackling, an intensive and air consuming finale which leaves a lingering and potent mark on the senses, just as the album achieves with the passions.

Ecstasy of God is an excellent excursion through destruction bred shadows and merciless malevolence but equally seduces with some of the finest melodic and sonic toxicity heard in extreme metal. Spheron is undoubtedly an emerging force which their debut suggests will be stealing our souls sooner rather than later.

http://www.facebook.com/spheronmusic

8.5/10

RingMaster 07/07/2013

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Lecherous Nocturne: Behold Almighty Doctrine

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    There is always a keen sense of anticipation when first approaching a band from South Carolina as too NC, the states the givers of so many impressive and startling forces especially within metal. Greenville death metallers Lecherous Nocturne is no exception in its individual way. Their new album Behold Almighty Doctrine is a record which raises debate within thoughts and emotions; across its length it either seducing the senses without any room for indecision or leaving them flat and almost underwhelmed. For all of that though the band is compulsive listening and ignites the need to investigate and repeatedly immerse within the destructive brutality of their new album. The release does not especially stand as a challenger to the top contenders for album of the month or beyond, but it certainly works under the skin to leave the want to feel its insidious endeavour on a regular confrontation.

Founded in 1997, the quintet of vocalist Chris Lollis, guitarists Ethan Lane and Kreishloff, bassist James O’Neal, and drummer Alex Lancia, has released an album which builds on an already intense reputation of the band for their intrusive and impacting sound. From the release of their self-tiled EP, Lecherous Nocturne has gone from strength to strength, the band signing with Unique Leader Records on the back of the release. Fusing the darkest venom of black, death, technical, and thrash metal, into raw sonic scourges the band set a mark for themselves within extreme metal with their last album The Age Of Miracles Has Passed and with Behold Almighty Doctrine continues the ferocity and accomplished sonic violence they have become renown for.

Topped and tailed by related evocative instrumentals the album explodes into full view with Ouroboros Chains, a track which 400426_369365549800719_1028778023_ninstantly carves its presence into the senses with carnivorous intensity, malicious riffs, and rhythms from drummer Lancia which flails the ear with hateful precision and unbridled malice. The track is a maelstrom of energy and corrosive interplay between the rhythms and the lethal guitar spite, with a spine of predatory bass encroachment watching all. It is a fiery tempest which touches upon bedlam but just retains control at all times and with the abrasive growls of Lollis a squalling furnace of anger, the song is a solid start.

Bring The Void and Archeopteryx continues the hellacious start, both a storm of at times startling technical accomplishment wrapped in a caustic cyclone of disarming sonic violence within the asylum of unbridled ideas and mayhem. Both tracks are again like the opener, richly agreeable contusions upon the senses but again without sparking any strong fires of passion They do strike with a lure which wants you to explore their annihilatory purpose more though and that is a strength in itself many others fail to hold a rein on.

The first real highlight of the album steps forward in the brutal shape of Those Having Been Hidden Away, a collision upon emotions of intriguing grooved sonics and a tsunami of beats and primal rhythms from Lancia and O’Neal respectively. To be honest it is hard to pin point what it is about the track which elevates it from its predecessors but with a hellacious altercation it ignites a burning flame towards its uncompromising company.

After an unexpected and impressive piano instrumental in Prelude #2, the album immediately devours the ear with the heightened hunger and excellence of Judgments and Curses, a track which scars and scores with the horde like fervour of a pack of wolves . It is another song which triggers stronger responses with wilful and manic sonic dissension to leave thoughts and satisfaction reeling in pleasure.

Across the remaining tracks Lesions from Vicious Plague, Caustic Vertigo, and Creation Continuum, the band offers more of the same raptorial technical violence in blistering tornados of explosive and seemingly uncontrolled devastation. More of the same also is unfortunately accurate when it comes to the similarity across the tracks, the trio and arguably album for the main, lacking any real surface individuality and side by side occasionally blurring into one singular scorching of the ear.

It would be amiss though not to say that with determined focus and full immersion into the tracks there is an inspiring diversity underlining the songs but whether most listeners will take the mission to explore deeper into the testing and uncomfortable listen is debatable, which is a shame as there is plenty on the album which suggests the band has the potential to deliver an awe-inspiring classic at some point. Behold Almighty Doctrine may not be it but it is easy to recommend to anyone who wants something different and unconventional in their extreme metal.

http://www.lecherousnocturne.net

7/10

RingMaster 20/03/2013

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Sin Of God: Limbus

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Canadian label PRC Music have really pulled out the stops to make the end of year a brutal yet special time for death metal. Firstly they have re-introduced the world and genre to the outstanding album Reign Of Lunacy from Quebec legends Goregust with its re-release and on the same day shown that current bands can be just as impressive and inspiring with the release of Limbus from Hungarian band Sin Of God. If you were struggling of what to ask for from the fat bloke in the red suit than you could do far worse than plumping for either titanic releases.

Limbus is exceptional, a bruising and intimidating encounter which rises to outright brutality and startling enterprise throughout, well for all of its presence to be honest. The band blends a sensational mix of technical death metal with old school with no reluctance in offering a groove or two which are more contagious than any viral outbreak. Sin Of God is recommended to all who like bands such as Nile, Behemoth, Immolation, and Morbid Angel, but they offer plenty more which is sure to capture the imagination of all extreme metal fans. It is a striking hybrid which merges the true essences of varied genres into something which ignites imagination and passion alike.

The based quintet was formed  by guitarist/vocalist Laszlo Pall and drummer Balázs Botyánszki , expanding to a stable line-up in 2009. The following year saw the recording and release of first release Satan Embryo which brought the band strong recognition in the Hungarian underground scene. It was just the beginning as the band went from there to touring with Brazilians Infested Blood, being placed in the top ten out of 400 bands in the Talentométer competition, and becoming one of the biggest forces in the underground scene in their homeland. It was at this point guitarist Szabolcs Molnár joined the band as well as a new vocalist. Sin Of God went on to share stages with the likes of Benighted, Nethirbird, Smashed Face, Krow the Sanatorium,the Scorned, and the Casketgarden before next recording debut album Limbus and signing with PRC for its release. Once into the ears of the world it is doubtful things will be the same for the band again, Pall, Botyánszki, Molnár, bassist Ferenc Vörös, and vocalist Balázs Lévai surely finding 2013 will be a year of demands and more acclaim upon their inventive heads.

The first thing to note with Limbus is the outstanding vocals, the malevolently soaked impressively cultured guttural growls and limbus_lowblack hearted squalls quite brilliant. The bio for the band leads one to think Lévai joined after the recording of the album and if so it is a shame we could find no credit to the actual singer as he is a staggering force and talent, and if it is Lévai than all praise to the man. Not that he is the sole talent on show, the craft and ingenuity of the guitarists is breath-taking and imaginatively resourceful whilst the drums of Molnár leave a wasted husk in their skilled and destructive wake. The bass of Vörös too inspires only immense accolades in his direction, the band and release triumphant in all aspects from songwriting, its interpretation and delivery to sheer ferociousness.

From a brewing intro with an inviting guitar lure and telling bells the title track seamlessly leans in, the album seizing instant hold on thoughts and ears; the soon smothering assault of concussive drums and sonically twisted riffs soon  quite irresistible. The track is an abusive delight with grooves which lick the senses with serpentine tongues and an intensity which leaves one overwhelmed and shell shocked. Actually it is probably not the most brutal confrontation  you will encounter but from its towering power and invention is sheer erosion to devour.

The following Kill The Irreligious equals the start with its flesh scorching sonics and rapier like rhythms though both are exceeded by the excellent Demonshrine. It is a ravenous brawl on the psyche, unrelenting for its first third before showing respite…in the shape of a nasty yet delicious grooved spear of sonic manipulation soon joined by the again storm of intensity. It is a magnificent violation blessed throughout with fiery guitar weaves and poison vocals.

The likes of the senses worrying waspish Eucharist, the violently carnivorous Bloodlust, and especially the brilliant Yearn Of Lesions too reach the highest pinnacles though without fear of contradiction every song on Limbus is well within their triumphant heights. The last of the three and maybe best song on the album, though the choice changes with each listen, is another treacherous yet seductive testy malefaction  which irritates like a giant hornet whilst bringing the fullest sonic orgasm of pleasure.

The release also comes with six bonus tracks which we sadly did not have access to but there is no reason to doubt that they will only enhance the already staggering release. If you had doubts whether modern death metal has any heart or imagination left in it than just dive into Limbus to alleviate those fears. Sin Of God is going to be huge!

https://www.facebook.com/sinofgodhu

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

Abiotic: Symbiosis

There is no doubt that Symbiosis, the debut album from Florida technical death metallers Abiotic, is an album which will split opinion. For those it fires the passions up within there will be an immediate reassessing of best of year lists whilst those for whom it sparks the opposite reactions there will be a just as immediate consignment to the best forgotten bin. Obviously taking a listen is the only way to decide with any band but especially with one as explosive and impressively destructive as Abiotic, but to deny them the opportunity to plead their mesmeric and malicious case would be a big mistake.

Symbiosis is glorious, an overwhelming and disorientating onslaught of skilled musicianship, breath taking intensity, and knee buckling imaginative exploits. Each song is an insidious web of enterprise and technically blinding invention, a dehabilitating fury which leaves one struck down and sprawling on the floor of a sonic abattoir. There are many bands which rip up the rule book and forge their own maelstrom of death metal malice and multi flavoured additives but very few come to mind as accomplished and simply as impressively in control of their inferno driven bedlam as Abiotic.

Formed in 2010, the Miami quintet of vocalist Ray Jimenez, guitarists Johnathan Matos and Matt Mendez, bassist Alex Vazquez, and Andres Hurtado on drums, took no time in garnering strong attention and responses through their blistering live performances and the release of two singles and the seven track EP, A Universal Plague. This soon led them to the attention of Metal Blade Records who release Symbiosis. The album is a sonic confrontation which makes the term highly abrasive seem like a gentle oil massage, but within the unbridled storm the band unleash some deliciously mesmeric and melodic elegance, though always twisted into their own excruciatingly imaginative and sensational design. It is not an easy listen but with no reservation can be acclaimed one of the most rewarding.

From the words of the band, “Lyrically, this record embraces several sociological, anthropological, and philosophical perspectives. We’re interested in themes that will enable us to explore patterns and paradigms of culture, religion, and society, among other aspects”. To be honestthat we will have to assume until the written lyrics are seen as vocally it was impossible for these well punished ears to find clarity to the deliveries, though the dual attack was immensely pleasing and invigorating. Each song is a perpetual duel within the crushing sounds between a guttural swine driven onslaught and venomous serpentine squalls, both standing upright against each other and in a unified malevolence.

From the opening building atmospheres of Metamorphilia, the opening track has all focus in its direction. It is only a brief intro and despite not being anything particularly staggering still manages to ensure that the senses are primed for the attack of the excellent Vermosapien. A rabid creation of grazing sonics, crippling rhythms, and lashing riffs, the track sears the ear as it skewers the brain with brutal incendiary expertise and invention. The guitars transform notes into spears of vicious pleasure whilst the bass of Vazquez just hypnotises with its expressive manipulations and ingenious heart. Everything on Symbiosis is of the highest skill and enjoyment but Vazquez arguably steals the overall show.

As the likes of A Universal Plague, To Burgeon and Languish, and the stunning Hegira rampage and redesign the synapses, the seductive sonic treachery is in full control, the corruption unstoppable but lustfully welcomed by the heart. Only midway through the album you are feeling like you have been mugged by a colossal aural kaleidoscope and the only thought is to ask for plenty more which the following Conquest of Gliese, The Singe, and The Graze of Locusts to name just three of the mighty violations, are only too happy to satisfy.

Symbiosis is wonderfully varied which just a surface engagement maybe disguises a little but with bravery and endeavour to crawl beneath the devastating conflagration, the striking invention and diversity is openly apparent and rewarding. If the thought of a sizing up between The Faceless and The Black Dahlia Murder is appealing then Abiotic is the band to investigate. One can only see great things ahead for this titanic band.

http://www.facebook.com/abioticfl

RingMaster 23/10/2012

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