The Devilzwork – A Dead Horse

the devilzwork pic

Australian industrial metallers The Devilzwork set senses and fears cowering last year with their album Floodlights, a carnivorous sonic pestilence which gnawed and seduced the emotions with lethal  yet compelling severity. Now the band returns with its successor A Dead Horse and another tempest of virulent devastation hell bent on consuming and reshaping the synapses.

Hailing from Australia’s Capital Region, the 2009 formed quartet of guitarist Whiskey (also in Chud), vocalist/bassist Tobias, guitarist Kvlt and drummer Postal, has built an incendiary reputation across the regions of Melbourne and the Australian Capital Territory with their impressive live shows which has seen them stare stages with the likes of Voices of Masada, MzAnnThropik, Tim “The Ripper” Owens, and Mnemic. The self-produced demo Bad Moon Rise equally sparked concentrated attention though it was the eight track release Floodlights which stretched the bands presence much further afield as certainly an online presence and temptation. Now A Dead Horse is primed to accelerate that growing awareness. You suspect such its harsh and caustic devilry that the release will send as many running for the hills as finding those unable to resist its scourge driven charms, but if unbridled spite coursing corrosion is your idea of a treat than The Devilzwork has a nasty rewarding one lying in wait.

Opening track Obey The Worm… immediately scorches the ear with a sonic piercing before riffs and rhythms conjure up a death metal 1016963_626992130646833_1762260211_nseeded malevolence. It instantly has the hairs on flesh wilting before its vicious blaze of noise rock/industrial ferocity with the great duel vocal attack driving the aurally scurrilous fire of sound to greater depths. From the first track alone you can openly see the evolution in the songwriting and intent of the band. Whereas Floodlights was one carnally bred lime pit of intensity and noise soaked irreverence its successor has a more defined purpose and invention to its claws. A strong spicery of metal and rock adds further potency and imagination to the song and as it emerges, A Dead Horse as a whole.

The outstanding Kalifornia comes up next, its confident swagger and teasing wantonness leaving a tasty flavour of horror rock to the Ministry sounding torch of sonic animosity. A twisting feverish taunting on the senses and imagination, the track despite its too soon coming departure is the first of the major highlights on the album and ultimately the best track.

The Godflesh/Marilyn Manson lilted Prick, a track with labour to its attack but captures the passions at a glance without any resistance, and the more electro venomous Big Man follow to continue the strong start of the release if without quite matching their predecessor whilst the insidious corruption that is Hardware suffocates and invigorates simultaneously to ignite the mind and emotions. Bringing an acidic blistering groove which would rest easily in a Kyuss/Queens Of The Stone Age rage, the track pushes the diversity of the album yet again. Admittedly some work is needed to unveil some of the unique rewards to be found within the songs beneath the surface severity and taking that plunge head first only rewards all the more. The previous album was debatably short on individuality between songs in hindsight but there is certainly no issue with A Dead Horse as each track reveals given close attention.

From the pernicious Corrosive, a more than decent track which is as its title suggests, and the dark intensive exploration Vast, the album reaches another pinnacle with Insect. Thumping rhythms open up a cage of virulent toxicity, a wash of sonic itching wrapping the skin whilst vocals and restrained electronics rattle the bars and another epidemically addictive groove frequents senses and passions. The track will have you scratching the brain and emotions for hours after whilst the short burst of instrumental after its departure soothes the sore need.

Enthralling expels a raucous heavy rock fury, vocally and melodically, within another breath and atmosphere of poisonous sonic mercury to again push the envelope of invention whilst Virus Installer is just a rapacious pathogen of angry and malicious noise honed into a riveting protagonist. Both leave the senses exhausted and wondering what hit them yet thoughts alive with interpretation of their magnetic intensity.

Concluded by the tender, well in comparison to what came before, Push Yourself Around and the sinister soundscape Desolate, the album leaves a hunger for much more. The first of the final pair has a scintillating toxic swing to its pestilential might whilst the closer is just an evocative passage of sound and menace which leaves the mind exploring its own black corners. Both add further absorbing ventures to A Dead Horse, an album which shows no mercy but strikes with an intelligently sculpted persuasion offering depths of melodically spawned venom. With only the shortness of some of the most enthralling violations a niggle, the album is an impressive leap forward for The Devilzwork and a must investigation for all fans of the likes of Ministry, Godflesh, Rammstein, Marilyn Mansion and those of industrial and death metal… though are they brave enough though?


RingMaster 10/09/2013

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Chud – Ominous


Ever had that feeling of impending doom, not a sense of coming mishap but a really dark unrelenting carving up of all you survive your lives safely by. Well whether yes or no, Australian metallers Chud bring you its soundtrack through their unbridled savagery that is debut album Ominous. It is a monster of a release, a collection of tracks and sounds with teeth that tear senses, emotions, and soul asunder whilst taunting them with insidious grooves and even at times melodies that are pure sonic acidity.

The metallic scavenging of one Whiskey Jones, who also leads the equally carnivorous industrial metal beast The DevilzWork, Chud is a confrontation that takes no prisoners but at the same time has an underlying seduction and simplicity of groove that is just irresistible. It is not always easy to find but throughout the release hooks and addiction forging aspects do make their deceptive play within the raw surface abrasion. Because of the guitar style and ferocious riffing of Jones there is a firm link between both of his bands, though they also stand distinctly apart, his other project having no time for anything other than primal filth clad temptation whereas Chud has a mellower heart, well maybe stalks with a slightly less predacious and more measured sonic tempting. Ominous is an inescapable storm but one you just want to be in the middle of, devouring all of its toxic animosity.

Opener Daemonic (Gnosis) tells you all you need to know about the album, the rhythmic torrent of crippling spite and the flesh chewing heavy riffs of guitar and bass a carnal consumption. Ridden by the caustic scowling vocals of Jones, his tones a senses stripping scourge, the track has its jaws firmly clasped around the mental throat from its first second and even the arrival of a slight swing and swagger to its suffocating body cannot lessen its staggering rabidity. It is a thrilling start immediately match by the similarly rapacious Choke and surpassed by the destructive Beast. The first of the two submits another artillery of rhythms within a sonic sandstorm, its prowling parade of lethal malevolence speared by harsh melodic flames from the guitar. It is close in presence to its predecessor but has enough to be a companion rather than an imitator whilst the second of the two is simply a crawling pestilence with the sinister seduction of Rob Zombie and contagion of Ministry. Whereas the earlier tracks were straight vicious metal that would find a mutual conspirator in a Devildriver or Brujeria, there is an industrial edge and melodic death metal stare to its voice.

Through the likes of the sonic abrasion Witchcraft and the envenomed despoiler Tyrant the album continues to isolate and scorch 537992_10151386920210873_553987901_nsynapses whilst flesh is torn from any resemblance of safety though the excellent Marilyn Mansion flavoured Gauss brings much needed respite through vibrant steel girded grooves and a permeating emotive malady. Like so many of the tracks there is a repetition throughout the riffs, grooves , and hooks that badger and persuade with virulently contagious success, their irrepressible cruelty enslaving the passions so perpetual returns to its violent mouth are an unavoidable given.

The barbarous Revenant leads to another infection fuelled rancor setting up the already enflamed hunger for another pinnacle of the album in the demonically sculpted Serpentine, a track which flicks at and licks the listener with a poison coated tongue and scornful persistence. It is another striding sonic defiler but one offering an eastern mystique to its intrigue and exotic vehemence. Split by the mordant Pronto, another major highlight appears in the tyrannical sonic enticement of Kill It. Holding again an industrial/horror rock lilt to its edacious metal bred ferocity, the track is like a pack of predators not seeing food for longer than bearable and just as wild in its onslaught.

The sonic carnivore is completed by firstly the lumbering weight of Gravedigger, yet again that Manson/Zombie essence gracing the heavily burdened riffs, thumping rhythms, and melodic whispering. Its impressive bulk is then followed by the instrumental The Gift Of Fire, a track which fuses blues and southern rock with another climate of Eastern breezes all through the impressive lone guitar of Jones within a waiting shadowed ambience, and finally Angelic (Gnosis), the bestial ruinous epilogue to it all.

Though there is a surface constant to the sound of the songs mainly through the distinct playing of Jones, a turn of extra concentrated work reveals the uniqueness of songs but you do have to make that extra effort. Ominous is a thrilling primitively tasting treat, and one which is sure to see Chud laying waste to many more unsuspecting victims.


RingMaster 02/08/2013

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Devilman: Self Titled

Beauty comes in many forms and shapes, it can be gently unassuming ,strikingly up front or in the case of the self titled album from noise abusers Devilman it can just be plain destructive. Actually what they create defies beauty but is just as compelling and magnetic as any seductive vision or touch. Consisting of eight nasty merciless tracks, the album is stunning, a corrosive infection which leaves you struggling for sanity whilst basking in a pool of blood from its ferocious sonic confrontation. Bringing the devastating industrial sonic violation of The Devilzwork in to a union with the inventive towering sounds of Morkobot spiced by the insane bedlam of Melt Banana, plus plenty of dub ingenuity to unsettled any balance which might try to settle in, Devilman creates sounds and experiences which are unique and unrelenting, and quite irresistible.

Devilman is the weapon of mass delirium from a trio of London-based Japanese musicians. Shigeru Ishihara on bass heads the noise terrorists ably aided by the savage drum programming and dub control of Gorgonn Amanita of Dokkebi Q and the psychotic squalls of vocal manipulation of Taigen Kawabe from the band Bo Ningen. Following their recent introduction to the world through the track Bakan Q and its Hiroo Tanaka aka Inumikaku directed accompanying short film, the band and album treats the passions to a fury of unbridled invention and violence. Released through Small But Hard Recordings, the album is glorious, the reason pain and pleasure was invented.

The previously mentioned track opens up the synapse twisting sonic impregnation, it alone easily bearing an unadulterated passion for its ingenious corruption. Sometimes you immediately know when something is right for ear and heart and this is one of those times. Right away there are the babbling bedlamic vocal squalls of Kawabe accosting the ear, his unintelligible but textured manic mischief the cause of the Melt Banana comparison earlier though even they would struggle to find the same delirious asylum destined might. Thumping beats duel with and punctuate the vocal storm and blistering ambience brewed and finally unleashed. As it expands the drums and rhythms just swell in sound and effect whilst the harmonic whispers temper the slowly stomping and ravenous energy of the track. It is a storm of abuse but holding a restraint and mercy which is less willing to appear elsewhere on the album.

From the staggering start Elephant Dub steps forward to offer a settled rhythmic and weighty presence, its insistence incessant and intense though again not an unbridled greedy assault. It is a constant thumping upon the senses which resonates like a jackhammer and as it passes over to the following 21 Seiki Dub an audible sigh is impossible to squash, not that the new piece of inspiring enterprise is going to let one off the hook. It simply replaces the massive rhythms of its predecessor with its own threatening rhythmic abuse just in a different tone. The track is masterful, a bewitching mix of aggressive rhythms and sonic majesty, if anyone says there are no true melodies within the album this track is the proof to the contrary. It is an intriguing and imaginative piece which evokes visions and sucks the senses into a maelstrom of energies.

The emotive dark wave  chills of Ross with its haunted organ ambience does not quite match the tracks around it but makes for a provocative track all the same whilst Noise Step is an industrial abrasion without any melodic sonic lubricate to sooth the generated bruising. Harsh and unforgiving the track scorches with every note, if they can be accused of being such, whilst burning up the atmosphere to suffocate any chance of a reprieve from its suffocating splendour.

The unique and welcome vocals of Kawabe return firstly with the excellent 93, a track which is like being violated by a whole steel works, and Nirvana Dub whose only intent is to see how much innovative caustic vehemence you can endure, not that a limit is in place and there is a safety word to escape with. It has to be said that as great as every track truly is, when Kawabe adds his maelstrom of vocal sounds a song finds another immense personality to add to an already existing wealth of facets.

After the creeping industrial teasing of Tunnel Dub the album sets free its biggest act of devastation in the brutal Last Black Emperor.  The track chews up the senses from start to finish, its deeply drilling sonics churning up flesh and feelings, its static acid burning every hope of relief and respite within its opening seconds. It is a banshee squall which leaves mush in its wake if you never suffered from tinnitus before will surely induce its onset.

If noise annoys then give Devilman a wide berth though you will be missing out on one of the real highlights of the year, simply an outstanding album from a quite exhilarating band.

RingMaster 05/11/2012

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