TRIVERSE MASSACRE come out ‘With Bared Teeth And Truths’, on 4th August.‏

Triverse Massacre Online Promo Shot

UK DEATH METALLERS TRIVERSE MASSACRE UNLEASH KILLER NEW EP!

 

Wielding a gargantuan passion for fast furious riffs and igniting glowing comparisons to The Black Dahlia Murder, Cannibal Corpse and Slayer, Triverse Massacre spit out a collision of galloping hi-octane metal that will drop you to the floor. The formidable Northern quintet serve up their explosive ‘With Bared Teeth And Truths’ EP through national outlets on Monday 4th August.

 

Born on April 2010, haling from the grim northern city of Carlisle and featuring Liam Clark (Vocals), James Graham (Guitar), Chris Kelsall (Guitar), Dan Fisher (Bass) and Mike Collins (Drums), Triverse Massacre have been causing a stir on the metal underground for the past three years. With a strong gig ethic that has seen the Brit riff monsters rack up the shows, chalking up supports with every one from Aliases and The Sun Explodes to Meta-Stasis, and aided with an impressive creative output, the progressive five-some are destined to make their mark on proceedings.

 

The Carlisle bruisers are now set to stride forward with a reboot of their enticing new EP ‘With Bared Teeth And Truths’. Armed with four brutal slabs of hybrid metal that encompass death, groove and thrash, Triverse Massacre have shaped a record that it is brimming with buoyant intensity.

 

‘With Bared Teeth And Truths’ starts in ferocious fashion with the hammering beatings of ‘Wolves At Your Gates’ before ‘Exhale Betrayal’ grabs you by the scruff of the neck, thrashing and attacking your eardrums. ‘Bullets Kill Beats’ continues in rampant form, packing abrasive riffery with a full frontal vocal assault. And as ‘Torn From The Throne’ hits the speakers with it’s barbarous groove, your senses will be fully laid to waste.

-TRIVERSE MASSACRE RELEASE ‘WITH BARED TEETH AND TRUTHS’ ON 4th AUGUST THROUGH ALL STORES-

Triverse Massacre Cover Artwork

https://www.facebook.com/TriverseMassacre

 

Voice Of Ruin – Morning Wood

voiceofruin_web

When a band’s bio starts with, “Voice of Ruin was born in 2008, driven by the common desire of five Swiss farmers who dreamt of leaving the family farm and becoming rock stars. Hungry for success and recognition, the five strapping young lads abandoned their shovels and harvesters to take on a different type of instruments, with the goal of becoming icons of sex, alcohol and rock ’n’ roll (or horny famer metal),” you cannot help offering it highly intrigued attention whilst also making inevitable assumptions. As shown by their new album Morning Wood though, the band whether by design or just by natural instinct do not realise the complete tongue in cheek encounter imagined. Certainly lyrically the songs upon the release come with a humorous swagger and intent bred from their ‘background’ but musically what you get is highly accomplished and passionate, not forgetting inventive metal. Like a mix of Lamb Of God, Sylosis, and The Black Dahlia Murder with plenty of extra additives, sound and album captures senses and imagination from start to finish. Admittedly severely original moments are as scarce as udders on a bull but it cannot stop Voice Of Ruin from providing a rigorously enjoyable onslaught.

Plucking relevant info from their farmyard history, Voice Of Ruin first made a mark with their debut EP The Crash in 2009 to be followed to greater acclaim by their self-titled album two years later. Its success led to the band breaking out into Europe with album and their live presence, countries like France, Russia, and Ukraine overwhelmed as the band’s homeland by their ‘Horny Farmer Metal’. Going onto share stages with such bands as Caliban, The Black Dahlia Murder, Entombed, Textures, Tankard, Sylosis, God Dethroned, Benighted, Dew Scented, Sybreed, Do Or Die, Breakdown Of Sanity and many more, the Nyon hailing band now uncages Morning Wood to take another step in cornering the worlds metallic dairy market.

Welcome To The Stud Farm makes an intriguing and impressive entrance to the album, guitars casting a web of sonic enterprise and voice_of_ruin_morning_woodenticement around crisp rhythms and a throaty bass lure. Its presence and energy intensifies deepens into its minute and a half as it feeds the imagination a colourful and magnetic bait leading to the following Party Hard. The second track launches itself with a roar from Randy Bull exploding within rampant rhythms, a torrent of riffs, and another immediate weave of temping scorched melodic endeavour crafted by guitarists Nils Bag and Tony Cock. It is a fiery proposition, nothing startlingly dramatic but potently gripping and skilfully unleashed.

The strong beginning continues just as pungently through both Through The Eyes Of Machete and Day Of Rage, the first delivering a coarse battering of rhythms from drummer Oli Dick and antagonistic riffery veined by acidic grooves. The track almost spirals around the senses with its excellent guitar play whilst the bass of Erwin Van Fox stalks with a dark resonance. The encounter is another elevation in the release but it is the glorious unveiling of clean vocals cast by Van Fox within a more reserved passage which steals the strongest satisfaction and shows the potency of the songwriting and invention within the band. Its successor is a natural predator; from its first gnaw of riffs and the toxic breath which covers air and the varied squalling vocals a bestial yet resourcefully sculpted scavenger. It is an unrelenting incitement which ravages senses and emotions for another pleasing assault, the twisted grooves and the simple voracious urgency of the track irresistible.

The unbridled ferocity of The Rise Of Nothing consumes ears next, its intensive pressuring from the first second led by a superb carnivorous bass stalking and vindictive rhythms whilst its core canvas is a breeding ground for heavy metal colour and virulently tempting hues painted and sent soaring by the excellent guitar work. As mentioned earlier there are few times that the sound and songs throw you a curve ball in originality but it has to be said and epitomised by this track alone, that working its alchemy under the surface of songs is a bewitching flow of dramatic invention and contagious unpredictability, it is just you have to work to see it as openly as it deserves.

Both the title track and its successor Viols Désinvoltes provide thoughts and pleasure with further captivating adventures, the first at certain moments wrapping its uncompromising aggression and serpentine hostility with absorbing flumes of clean vocals which takes the track from a strong if expectations feeding level to something of a pinnacle on the album. It is not the vocals alone which make the difference though, piercing and technically thrilling invention equally effective as it spills out from the tempest to great success as the track leads into the second of the pair. The most anthemic track on the release, and the most hostile with its industrially kissed fury, the new song is pure sonic rancor framed by equally adverse rhythms and vocals; raw metal moonshine of the most toxic potency.

   The following Cock’n Bulls and the instrumental Today Will End descend with their own inhospitable bodies next, both belligerently intrusive and appealing. The first infusing a southern twang and groove to its admittedly increasing persuasive torrents and the second emerging from a black hearted storm with deliberate winds of sonic painting and reserved but still unstoppable intensity. In many ways neither matches earlier triumphs but do reveal more of the scope and skills of the songwriting and band whilst providing further variety to the almost pestilential attack overall of the album.

The trio of the salaciously jaundiced Sex For Free, the severely bruising Big Dick, and the closing creative storm that is Dirty bring the truculent album to a senses wasting close; the first of the three with its poisonous melodies and barbarous rhythms the most contagious and exciting of the closing stretch. Morning Wood is a thoroughly enjoyable ravaging even if one which keeps well within the walls of existing designs and when it does offer undoubted invention and mouthwatering ingenuity leaves it under a thick wash of almost uniformal surface rapaciousness. It means you have to work to discover the elements which set the band apart more than imagined but those rewards are full and impressive. So forget the image and gimmicks behind the sounds if new to the band just indulge in one very healthy and mischievous slab of bovine strong metal.

Morning Wood is available digitally and on CD now via Tenacity Music.

https://www.facebook.com/voiceofruin

http://voiceofruin.bandcamp.com

8/10

RingMaster 06/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Morgue Orgy – The Last Man On Earth

    We play in a bandThe Last Man On Earth is one of those malevolent pestilences which rather than run and hide from its toxic virulence you just have to dive head first into the exhaustingly inventive depths of melodic blackened death metal. The debut album from UK metallers Morgue Orgy, it is a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination. It is mischievously psychotic, rampantly schizophrenic, and masterfully vicious and one of the most tempting rages of extreme sonic violations to come from the British Isles in quite a long while.

     Exploding from the darkness in 2008, the sextet from Birmingham has emerged as a tour-de-force at combining a diversity of sound and ingenuity into a melodic death metal proposition as shown by the album which bewitches and savages with equal intensity. Drawing comparisons to the likes of Carcass, The Black Dahlia Murder, Abigail Williams, and Cradle Of Filth whilst sculpting their own unique acclaimed presence, the band has earned a fine and imposing reputation on stage. That encounter has taken Morgue Orgy to a slot at Bloodstock Open Air in 2010 as well as stages appearances alongside the likes of Anaal Nathrakh, Evile, The Rotted and many more. Debut EP, The River & I only enhanced their emergence as did its successor the Murders Most Foul EP which featured guest vocals from Dave Hunt of Anaal Nathrakh. A release just as ripe with riveting and grand neoclassical keyboard seduction and crippling technically sculpted grinds as it is with blackened venom and melodic death corrosion, The Last Man On Earth is the declaration of a band at its imaginative height and fullest merciless malevolence, and you still feel that there is so much more to come from the band ahead.

     Across the album not a moment is wasted, ideas and twists spearing every minute if not second of every song with an adventure TheLastManOnEarthCoveryou can suggest is barely alive in melodic death metal elsewhere. As soon as the opener They Came From Outer Space hits the ear senses and imagination are swiped into action by band and sound. Lively classically bred keys embrace the ears at first whilst a warning buzzer makes a call of impending menace. It is an instant coaxing which suggests numerous possible paths ahead which the album may take without revealing which initially. The gothic breath of the entrance is the predominate lure but one which offers an Adams Family meets Cradle Of Filth like tease before the track  reveals itself fully. That is does with thunder rich rhythms and rampaging riffs stalked by a female spoken narrative. Again it is mere hinting until the song settles into a delicious stomp of tantalising sonic revelry and urgent intensity which in turn soon evolves into a melodramatic gothic waltz. Barely two minutes in and a canvas of multiple textures and hues have been laid to intrigue and disorientate. This is the way of the song, and album from start to finish, and one reason why both are thoroughly riveting. Halfway in and the vocals of Gray, backed by those of keyboardist Carter, savage air and emotions with an expected but again varied and eventful poisonous attack. It is a mighty introduction to the album soon backed up and at times surpassed ahead.

     Both 4 Days and Phantasms of March rampage vehemently across the sense’s landscape, the first a fury of guitar enterprise from Prok and Pence which sears and soars with artistic rabidity and primal savagery whilst the keys pulsate and swoop around the aggressive tempest with melodic rapture and temptation. Like the first and album as a whole, the track is a voracious flow of imagination and hostility which you cannot take all in on one or two listens but rewards intensively for all the extensive time spent in its caustic wrap. The second of the two is a slower bestial incitement at first but cannot not hold back the rapacious energy boiling up within and soon unleashes a rabid assault with guitars creating grooves which finger the passions and a rhythmic barracking from the lethally crisp beats of drummer Tom and the predatory throaty tones of Uncle Holloway’s bass which is instinctively addictive.

     The Last of the Summer’s Wine steps forward next soon diminishing thoughts of old men in childlike escapades with a horde of ferocious riffs and rhythmic bitch slaps which are subsequently aligned with melodic suggestiveness from the keys alongside crazed grooves and a guitar solo which only ignites greater submission for the impressive storm. To be honest it is impossible to describe every dramatic turn and rich bait provided by each song as with this one such the constant imagination and ingenuity of the release but we can reassure that it is something at times bewildering and always scintillating.

     The likes of Barnum & 399 and Castle Freak continue the strong encounter with the same flocking of ideas and intensive rhythmic barbarism, if without quite matching those early pinnacles, whilst splitting their storms is the excellent ruinous swagger of the pestilential 70 Dead pt 2: The Scarecrow of Medan. The track caustically engages and impresses whilst the piano and keys designed instrumental Waiting for the End is a glorious grandiose neoclassical aural painting to take a breath over and allow imagination and thoughts to reflect before the album’s finest moment viciously thrusts its jaws around the jugular.

    The Last Man On Earth (Diary of George) simultaneously is cultured and barbaric, vocals and rhythms merciless predators upon the senses whilst the guitars and keys cast a mesmeric if vitriolic haze over the damage. With a brilliant discord kissed sax wailing over and taunting the carcass of your sanity, the song is a blackened fury with a melodic harpy on its shoulder but one constantly twisting and evolving as it moves towards an expulsion of a riled almost hardcore brawl of vocal scowls and shouts over a punk spurred ferociousness. It is a stunning track and almost leaves the remaining songs an impossible task to follow but IT LURKS BENEATH!!! and Paradise irrepressibly and cantankerously in the case of the first make light work of the challenge.

   Closing on the enjoyable and impressively presented but less commanding In the Smoke of the Green Ghost, though that is again down to the quality elsewhere, The Last Man On Earth is an exceptional album.  There is little to raise up against it, though you suspect some will find it just too intensive and unrelenting in its inventive maelstrom. Released as a free digital free on Christmas Day and getting its official retail release on 13th January, Morgue Orgy may just have delivered the best melodic death metal release of the coming year. It is a tall order to follow for sure for them and the genre.

http://www.morgueorgy.co.uk/

10/10

RingMaster 13/01/2014

Copyright RingMaster: MyFreeCopyright

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When Reasons Collapse – Full Of Lies

When Reasons Collapse Promo shot

Hailing from Paris, When Reasons Collapse brings their own inventive take on deathcore with the release in the UK of their Full Of Lies EP. Aligning melodic death metal and metal core into a potent enterprise, the French quintet through the seven tracks making up the release, whilst not standing as a unique presence in the genre and the wealth of new metalcore cored bands around, bring more than enough to suggest it is only a matter of time before they step into that type of stature whilst simultaneously raising strong appetite for their debut album due in 2014.

Formed five years ago, When Reasons Collapse has built a strong presence and reputation at home, a pair of two self-produced EPs earning critical and fan acclaim alongside as their explosive live performances. Now the band has its sights on the British metalcore scene and it is fair to say you would not bet against them making the same strong impression even amongst the amount of similarly clad bands already trying to seduce the passions here. With a sound seeded from the likes of Heaven Shall Burn, All Shall Perish, and The Black Dahlia Murder, and fronted by the great squalling tones of Christina, it makes for an instantly intriguing and satisfyingly rewarding proposition.

It is unlikely that Full Of Lies has enough to truly set the band apart right now even as good as it is, but as the septet of brutally When Reasons Collpase - Cover Artworkconfrontational and imaginative songs take their swipe at the senses it sparks the suggestion that their album has potential to if it evolves the strong and pleasing groundwork found on the EP. Starting with Another Beginning the release teases at first, the opening instrumental not really true indication of things to come for newcomers but certainly an accomplished and hue soaked welcome that awakens the senses and imagination ready for the following onslaught firstly brought by Another End. The track takes a mere moment to offload testy riffs and antagonistic rhythms all primed to welcome the emerging carnivorous core of the song and the caustic vocals of Christina. Her tones have a Krysta Cameron (ex-Iwrestledabearonce) persuasion about them and lie perfectly within the metallic malevolent tempest crafted by the excellent guitar work and bass predation. It is a striking start if not exactly a full enslavement of the passions but one which already marks the band as one to offer full attention to.

The following Wounded seizes the brief pause between tracks to brew up a similar but individual enough torrent of raging riffs and barbarous rhythms again ridden roughshod by the excellent vocals. Like its predecessor the track also finds nothing to lift it above its companion or other creatively like-minded bands yet with the fine guitar craft and venomous intensity there is nothing to lose hunger over or dismiss. That wanted uniqueness is found in its successor though, the exceptional Made Of Stone. Pissed off from its first second with vocals and rhythms searing and punishing the senses respectively and the guitars bringing their own corrosive fascination, the song just draws on greater strength and accelerates its qualities with each passing press of time. Contagious and demanding the track slips into a midway lumbering gait which with a weight as greedy as the rapacious attack seems to ignite something deep within band and song with the sound finding even greater maliciousness amid a richer blaze of vocals from Christina and band that is enthralling and diverse.

Will To Die and the title track rip into the ear with crippling drum provocation and sonic entanglement stalked by the strong if not jaw-dropping bass sound. The first of the two never settles into a single or determined intent instead pleasingly leaping around with inventive and unpredictable imagination whilst the second casts a vindictive and ravenous expanse of vitriolic fascination around the riff and rhythmically sculpted savagery leading to even stronger assumptions about the promise and future of the band, though the pair of songs still fall below that central pinnacle of the release.

The scathing barbarous fury of Walkers In The Dark completes the EP in red-blooded style as the band unveils more scalding sonic craft and belligerent attitude. It seals the confirmation that When Reasons Collapse is a real force in the making and Full Of Lies despite not pushing the band to heights above others, one thrilling and promising release.

www.facebook.com/WhenReasonsCollapse

8/10

RingMaster 24/08/2013

Copyright RingMaster: MyFreeCopyright

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‘Nine Fingers’ the new EP from DOOMED FROM DAY ONE out Monday 21st October‏

Doomed From Day One Online Promo Shot
THE BLISTERING NEW EP FROM DOOMED FROM DAY ONE UNLEASHED WITH A UK TOUR ANNOUNCED!!!
 
Surrey Slayers ‘Doomed From Day One’ nationally release their stunning new EP ‘Nine Fingers’ on Monday 21st October, through all digital stores.
Ascending UK noise chiefs ‘Doomed From Day One’ are swiftly ploughing through the ranks in the British metal scene and now set loose a burly slice of resourceful progressive Death Metal in the shape of their sophomore EP ‘Nine Fingers’.
Spawned from the depths of Surrey, and born at the end of 2009, Guildford riff slingers Doomed From Day One have quickly assembled an army of fans by constantly touring. And word is now rapidly starting to spread about the band’s intense live shows. Adding further weight to their cause, the ferocious five-some have recently supported The Black Dahlia Murder, Sylosis, Bleed From Within and Thy Art Is Murder, and the boys head out on the road again with Red Seas Fire and Fathoms this Autumn (see tour dates below).
Besides their noteworthy affection for and commitment to touring through the country’s highways and byways, Doomed From Day One have also garnered critical acclaim for their debut EP ‘The Wasted World’, chalking up lofty support from Metal Hammer, Kerrang!, Big Cheese and Zero Tolerance Magazine, as well as acquiring widespread radio airplay from Total Rock/Bloodstock Radio.
Doomed From Day One surge onwards again with the official release of their stunning new EP ‘Nine Fingers’ which immediately grabs your interest as the opening track and namesake ‘Nine Fingers’ takes you from hauntingly beautiful acoustics to pummeling guitars in a heartbeat. The pace continues with the guttural attack of ‘Cut and Hunt’, framed by sledge-hammer beats and blistering guitar parts. The magnificently proggy ‘At Graves End’ is next up, and it duly wraps its crawls around your ears to stunning effect. ‘The Promise’ is a blistering full frontal blast of Thrashcore, complete with a captivating interlude highlighting that DFDO can throw away the blueprint for any genre. ‘Dread’ further cements the bruisers place as real contenders as its amps up on the brutality, with deep growls that stem from the pits of hell. Finally, ‘In This Life Not The Next’ draws the record to a close as it displays the southern metalheads’ shrewd craft for shaping a gargantuan beast of a tune complete with thoughtful arrangements. This record will stomp its way through your cranium, leaving you with a sizable indent; Doomed From Day One will surely leave their mark.

DOOMED FROM DAY ONE LIVE: September with ‘Red Seas Fire’: 4th – South Sea Live, Sheffield*; 5th – Zombie Hut, Corby; 6th – Soundhouse, Leicester; 7th – Ivy Leaf, Sheerness; 8th – Intake Bar, Mansfield. October with ‘Fathoms’: 22nd – Scream Lounge, Croydon (EP Release show)**; 23rd – South Sea Live, Sheffield; 24th – The North Wales Inn, Rhyl; 25th – The Frog & Nightgown, Worksop; 26th – The Derby, Barrow In Furness.

 

*Without Red Seas Fire; **Without Fathoms.

 Doomed From Day One Cover Artwork
 
 

PARISIAN DEATHCORE CREW WHEN REASONS COLLAPSE REBOOT THEIR BREATHTAKING EP TO THE UK

When Reasons Collapse Promo shot
PARISIAN DEATHCORE CREW REBOOT THEIR BREATHTAKING EP TO THE UK
 
Highly acclaimed female-fronted French noise chiefs ‘When Reasons Collapse’ take from the likes of Heaven Shall Burn, All Shall Perish and The Black Dahlia Murder, and manage to firmly impress their own unique imprint on proceedings by delving into multi sub genres. The Euro metal heads spit out their blissfully brutal EP ‘Full Of Lies’, on Monday 26th August through all major digital stores.
Formed five years ago in Paris, When Reasons Collapse are now spanning their formidable reach across the ocean and are set to attack the UK death/metal core scene with their thunderous wall of sound. The band are already firmly established in their homeland for their blistering live shows and dedication to touring. The enthused five-some also have a steady recording output and have released two self-produced EPs to date, both racking up extensive national praise in France. However, the band are now focusing their attention on cracking the UK and ensuring that they deliver an explosive debut album, due out in 2014.
Out in the UK this August, When Reasons Collapse’s present record, ‘Full Of Lies’, is a heady crossover-mix of Metalcore, Deathcore and Melo-Deathcore. The seven cuts on the record are hard edged, gut-busting and superb on all fronts. Tracks such as the mighty ‘Made Of Stone’, ‘Full Of Lies, and the vicious ‘Walkers In The Dark’ meld together pounding beats with shredding riffs, capped with captivating vocal deliveries that will refine your senses. Hit up the band’s Facebook page for show updates and watch the band take flight during the coming months!
When Reasons Collpase - Cover Artwork
*WHEN REASONS COLLAPSE RELEASE ‘FULL OF LIES’ ON MONDAY 26th AUGUST THROUGH ALL DIGITAL STORES*
 

Kill With Hate – Voices Of Obliteration

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From making an immediately contagious introduction at its start to ending up as one of the most enjoyably violating brutal romps to come along this year to date, Voices Of Obliteration the debut album from Hungarian death metallers Kill With Hate is an album all extreme metal fans should make an acquaintance with. From its mighty start the album is a constant treat with extra fires of quality emerging throughout and though it is questionable as to how much originality the Budapest quintet has forged into their release there is no denying it’s invigorating and thrilling impact.

Formed in December 2007, the band took no time in becoming a potent presence in the metal underground scene of their homeland. Sharing stages with bands such as Onslaught and Moonsorrow, Kill With Hate released their first EP in 2010. Evolution of the Beast was well received from fans and media and helped lead the band into playing with the likes of Job For A Cowboy, As I Lay Dying, and Belphegor. Some line-up changes followed as well as the chance to support The Black Dahlia Murder in 2011, followed by shows with Origin, Psycroptic, Leng Tch’e, and Cannibal Corpse over the next year. 2012 also saw the band record Voices of Obliteration and at the beginning of this, they signed with PRC Music for its CD release.

After the ok intro Revelation (It’s Just Murder), only really notable for its didgeridoo and male cloister union, the album kicks kwh_lowoff its corrosive tempest with Submersion. The track falls upon the ear with riffs and intensive rhythms crowding and abusing their recipients. Taking a brief breath for the grooves and intensity to stake its claim the song explodes again into a tirade of bone snapping drums punches from Bence Turcsák and deliciously insistent riffs and grooved temptation from guitarists Ákos Olt and Márton Hartvig. All the while the bass of Patrik Pornói prowls with predatory malevolence to further intimidate whilst the guttural scowls of Krisztián Gyémánt reap caustic treachery with the lyrical intent to exhaust the emotions further. With a latter flame of sonic melodic teasing which is enjoyable if short on impact, the track is a very satisfying murderous confrontation with destruction on its mind.

The short roll of crisp drum raps aligned to a deep bass groan opens the way for another furnace of violence from The Beast Within. The track is an outstanding carnivorous fury with  death and black metal styled vocals unleashing their dual malice upon a driving energy of riffs and vengeful rhythms. Unrelenting and merciless, the carnage of the torrential hellacious drumming and equally demanding and imposing riffs taking its toll on body and psyche, it simply leaves a wasted carcass grinning from ear to ear in its wake. At this point the album has made a strong persuasion and ignited greedy passions which the following Servant of God, Epistle of Fire, and Pray for War confidently and competently continue. Fair to say the trio of songs do not live up to their predecessors or others to follow but all leave a depth of pleasure and accomplished temptation which for many other releases would be their highlights.

A new heightened barrage of vindictive enterprise breaks free within Doubt to return the experience to the levels forged at the beginning and take them beyond. A ravenous sacking of the ear coursing with the now expected ferocity from the band and their imagination, the song wrongs foot by going against type with a scintillating twist of melodic guitar and similarly gaited bass lines  which offer a rock voice within the cavernous aural vehemence around and above them. It is a surprising and exhilarating thrust of invention within ultimately a tsunami like blitzkrieg. Imprisoned then takes over to offer an individual and equalling marauding storm of invasive spite. Mixing up vocal styles again as well as rippling with sonic intrigue and mastery from the guitars, the riff and rhythm incursion chains and enslaves with blistering efficiency. It is a maelstrom of energy, sounds, and black hearted passion honed into a tumultuous and inescapable nasty pleasure.

Completed by Speeches of the Defendant and a decent cover of Internal, a song of old Hungarian death metal band Extreme Deformity, Voices Of Obliteration is an excellent album from which it is hard to find anything not to hungrily like. Originality is debatably scarce maybe but the great sounds and violently aggressive encounter given, more than makes up for it. With this album, Kill With Hate is poised to find awareness well beyond their home borders one suspects.

http://www.killwithhate.com

http://facebook.com/killwithhateband

8/10

RingMaster 17/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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