Cockroach Clan – Songs About Blunt Knives and Deep Love

Veterans of the Norwegian punk rock scene, Cockroach Clan has a rich reputation and eagerly loyal fan base but have still been pretty much a secret outside of their home borders. We are only just getting our introduction to them right now and all thanks to a certain producer, Norwegian record label Fysisk Format, and their new riotously irresistible album, Songs About Blunt Knives and Deep Love.

Formed in 1994, Cockroach Clan released debut album Roach that first year with its successor Just Say Blow! unleashed three years later with the Going Underground EP nestled in between. Equally the years have seen the band share stages with the likes of The Toy Dolls, Discharge, UK Subs, The Exploited, Cock Sparrer, Anti-Nowhere League, Vice Squad, and GBH, Cockroach Clan only drawing thick acclaim for their rousing live presence. As for their releases, all three have gained minor classic status within the Norwegian punk scene but given the chance and luck, it is very easy to see the quintet finally embraced far further afield thanks to the glorious irreverent stomp of Songs About Blunt Knives and Deep Love.

Apparently the album came about through an idea cast by producer Hugo Alvarstein (The Good the Bad and the Zugly, Raga Rockers) who told the band, “Pick some gems from your 1990s recordings and rehearse them properly. Then visit my studio and I’ll make that scrap iron shine.” That is exactly what they did, throwing in a handful of new tracks and a cover song for good measure and from the effort has emerged one of the year’s major treats.

The release opens with a cover of the Mountain Goat track, Going to Georgia. Its melodic southern drawl is soon walked through by the punk scowling of Billy Cockroach, a union which lures attention with increasing potency as the slow swing of the track infests ears. It is a great start to the album but to be honest just a healthy appetiser to the more thoroughly addictive morsels to come.

You have a Bun is next, the track almost teasing ears with its initial strum of guitars before settling into an infectious stroll already accosted by Billy’s galvanic tones. The guitars of Akke Knoff Glomstad and Simen Jeistad erupt with a grin on their strings, their craft openly sharing classic rock/metal prowess to their punk instincts. With a slither of Oi goodness to its punk ‘n’ roll, the track makes way for the rousing antics of Fantasyland. Early melodic hookery leads to contagious rioting, mischief coating every note and gravelly shod syllable as the boisterous rhythms of bassist Morten Mormone and drummer Cato Holmen pounce, the song so lively even inanimate objects share its bounce.

The immediate folkish vocal welcome of Three wishes has devilry in its deception, knowing the swift outbreak of voracious punk rock close on its heels. Nevertheless, that initial hue continues to breed a thickly alluring folk punk stomp, vocals an inescapable carousing and guitars again revelling in the skills of their holders.

If the air and exploits of the song are virulent and they are, an epidemic of temptation erupts within the following On an island and indeed its immediate successors. The track bounds in with rhythmic nostrils flared, riffs swinging their muscles as vocals roar. The keys of Hugo Alvarstein add to the incitement, the track a UK Subs-esque riot with a host of sneaky hooks and bold manipulations proving so impossible to resist.

From one of the album’s major romps to another in Crash ka-boom where punk ‘n’ roll irreverence is in full roar and hosting a galvanic vocals mix rich in its own web of hooks aligning to join those in sounds boisterously hugging their horseplay while Necktie party vigorously bobs up and down poking at its victims. Both tracks rigorously got under the skin as too the even deeper burrowing Facts on the wall where old school punk colludes with pandemic rock ‘n’ roll in a track daring you not to leap in with vocal participation and a limb swinging body.

Favourite album moment came with Gene’s got a bun too, a track originally called Barbies on Drugs on the Roach album. Its first breath brings exuberant beats, its second a groove spun hook, both irresistible and only accentuated by the tenacious sounds and rampant vocals that follow with each subsequent lungful of addiction spreading enterprise.

Dit it again with its fiery rock guitar and swinging gait gave body and pleasure another eager workout with its multi-flavoured punk romp, its successor, Believer, then springing another ridiculously persuasive and enslaving hook within its irritable prowl. Both songs just aroused the spot with the latter another which almost alone had us scurrying to acclaim the Cockroach Clan as our new punk favourite to anyone in close proximity.

Closed up by Cockroach Fandango and its anthemic croon, Songs About Blunt Knives and Deep Love is simply glorious, a release no raw edged rocker should ignore. Whether we are talking about veterans like the Cockroach Clan or fresher aged protagonists, surely punk has rarely seen more exciting days with encounters like this thick reason.

Songs About Blunt Knives and Deep Love is out now via Fysisk Format; available @ https://cockroachclan.bandcamp.com/album/songs-about-blunt-knives-and-deep-love

https://www.facebook.com/cockroachclan

Pete RingMaster 17/09/2019

Copyright RingMaster: MyFreeCopyright

Infected Syren – Self Titled

Nudging broad attention virtually since they emerged in 2011 and certainly since the release of a demo the following year, Infected Syren are now demanding it with their self-titled debut album. With eleven tracks of rapacious metal infested punk ‘n’ roll, the Cyprus bred outfit grab body and appetite with mischievous intent, rousing energy, and a craft honed in the heart of rock ‘n’ roll.

Nicosia bred and now sharing their time between their country’s capital and London, Infected Syren is said to have come to “finally consider a more serious and dedicated approach towards writing their own material and developing their sound while doing what they love most – performing heavy alternative music!” Certainly you can hear the passion at its heart and the imagination in its character; a proposition which roars with the invasive funkiness of Infected Grooves, the uncompromising punk attitude of The Exploited, the thrash devilry of early Anthrax, and the psychobilly predation of a blend of Grumpynators and Batmobile. It is a stomping incitement embracing familiar traits but all twisted into the fiercely enjoyable individual antics of Infected Syren.

The album opens with the sinister, increasingly intimidating carnival of Infected Circus, a hook woven instrumental easily getting under the skin as guitars suggestively dance and rhythms devilishly swing. It sets the mood and rascality of the release perfectly, the following romp of The B.B.P. similarly manipulative with its hook lined grooves and teasing metal spawn riffs. Guitarists Constantinos Lyras and Louis Syrimis cast a net of infectious exploits within the song’s boisterous body; the latter’s vocals as bold and devious as the addictive textures making up the track.

Already, the release is a swagger of thrash and alternative metal hued rock ‘n’ roll, the band’s punk instincts brewing nicely and erupting more forcibly within UnNormal. From a southern nurtured hook, the track breaks into an inescapably catchy stroll, wiry grooves swiftly entwining the animated beats of Constantinos Syrimis and the lithe canter of Miguel Trapezaris’ bass. With devilment in song and the charismatic vocal deliver of Louis, the track bounds along with the listener taking in calm and volatile scenery with equal ease whilst taking over hips and body like a puppeteer.

It is fair to say that every track within the album is rich in virulent bait and scheming manoeuvres, next up Sick springing its dirty rock ‘n’ roll with frisky buoyancy, bobbing along with attitude and playfulness as punk irritability meets heavy rock intensity, both imposingly irresistible sides entangled in riotous high spirit. The album’s best track is closely rivalled by the punk ‘n’ roll discord coated virulence of Unwanted, the track poking the listener in the chest with its bad attitude whilst toying with them as if a marionette. Heavy metal spices add to thrash instincts within the temptation though again it is the psyche enslaving hooks and grooves which seal the slavery.

Through the psychobilly lined Boogie Stick and the devious ingenuity of The Torture Brothers, the album only tightens its grip on ears and appetite, the first with fevered energy as it stalks the senses spreading aural narcotics laced with Constantinos striking enterprise. Its successor with a similar gait and admittedly flavouring brings its own individual addiction, those hues evolving into an infestation of rock ‘n’ roll which is as toxic as it is a tonic for the spirit, the song laying its hands on a share of best track honours.

Both Divide and Rule and Death After the Melody pretty much match the leading pair, as all tracks come close to in all honesty, their respective defiant groove wired stomp and hungrily swinging trespass each melding metal, punk, and rockabilly textures into one unique carnival of sound and infectiousness. They snarl and tease the imagination, taunt and spark the body into zealous involvement with every note and twist but Infected Syren show themselves just as effective in grabbing the listener’s subservience with unbridled muscle clad, animosity fuelled punk ‘n’ roll, Toothless Tigers the unassailable evidence.

The album closes with Syrens in The Opera, another insatiable imagination stoking instrumental to bask in. It is a fine end to an album we truly cannot get enough of. If Infected Syren cannot stir up real attention and praise their way with this gem of a release something is seriously wrong.

The Infected Syren album is out now on CD and Digitally through most digital music stores and @ https://infectedsyren.bandcamp.com/album/infected-syren

http://infectedsyren.com/    https://www.facebook.com/infectedsyren

Pete RingMaster 16/01/2018

Copyright RingMaster: MyFreeCopyright

Studfaust – Where The Underdogs Bark

Studfaust Garage

It is hard not to be turned on by a heavy dose of dirt encrusted, liquor encroaching rock ‘n’ roll and it does not come in much finer form than that which spills voraciously from the might of Norwegian protagonists Studfaust. A third heavy rock, third filth coated metal, and the final segment pure punk rock, the sound conjured up by the Oslo/Bergen hailing trio is pure venom fuelled antagonism. Imagine The Exploited and The Damned in their early days in salacious cahoots with Twisted Sister and Black Sabbath in the distinctive bed made by Motorhead and you get an idea of the weighty thrills and hostile rampage which makes their new mini-album Where The Underdogs Bark one of the year’s treats.

Studfaust was unleashed in 2011 by vocalist/guitarist Tore Bratseth aka Stud Bronson (ex- Old Funeral, The Batallion, Bömbers) and Bård “Faust” Eithun (Emperor, Blood Tsunami, Mongo Ninja). That same year they recorded and released debut single Half Human, Half Dynamite /1980’s Ladies to strong responses, its vinyl release via Soulseller Records subsequently sold out whilst their gigs equally stirred up attention and fans. The line-up became three soon after with the recruitment of bassist Pete Evil (Blood Tsunami, Mongo Ninja, Hellride). Again uncaged through Soulseller, Where The Underdogs Bark riles up ears and passions from start to finish with an instinctive wickedness which easily suggests it could and should trigger the widest spotlight upon them, certainly its devilry deserves it.

Half Human, Half Dynamite is the first riot to accost ears and instantly sets the juices flowing with raw and abrasing riffs aligned to urgent rhythmic provocation. Vocally too the track simply sparks the purest punk rock instincts Studfaust cover 2400x2400whilst grooves and spicy hooks tease and play with the imagination through mischievous rapacity. It is a glorious stomp and easy to see why the eager reception when released as that first single.

The following title track is just as feverishly contagious and incendiary. Caustic riffery from guitar and bass is courted by a simple but ridiculously addictive groove from the off as Eithun swings his sticks with all the muscular contempt he can muster. Within two songs Studfaust shows they have no interest in anything other than adrenaline driven, dirt kicking rock ‘n’ roll with a metallic predation to its raw devilment, the second track the perfect example with its unfussy and bordering on hostile ferocity.

A southern rock twang flirts with ears and thoughts as the next up Hell Is Full embraces the senses. Its gait is a slower heavy metal stroll than that of its more abusive predecessors and similarly veined with a repetitive and relentlessly attentive grooving and enterprising sonic causticity. There is a fire in the belly of the song too which gives it a distinctive toxicity to the others, whiffs of AC/DC and Turbonegro enhancing the abrasive seduction before it all departs leaving the floor clear for the punk aggression of Street Judges Gavel to roar and spill its feverish sweat upon it. A sense of Discharge adds another hue to what is, like all tracks, a seemingly Lemmy and co inspired canvas of middle finger energy and honest senses abusing creativity.

The outstanding Erection Of The Egoist with its ravenous and carnivorous bass swagger and infection spewing grooving takes the album to another irresistible level. The vocal squalls driving it are as uncompromising as the viciousness of the rhythms whilst that imposing lure of Evil pungent bait is as trapping s ever, but the real submission grabbing edge of the track comes with the lethal hooks and spicy grooves out of Bronson’s guitar.

The release closes with firstly The Devil Of Mine and its punk fest of flesh flailing riffs and rhythms bound in funk infested basslines and lastly the irreverent temptation of 1980’s Ladies. The first of the two growls vocally and musically with a pissed off attitude and intensity whilst its successor is sheer glam punk ‘n’ roll, kind of like Sex Pistols meets Towers of London for an inescapable and infectiously addictive rampancy.

Where The Underdogs Bark is not trying to invent or even reinvent the wheel but for a bodily fluid soaked slab of real rock ‘n’ roll it is hard to think of anyone who has thrilled and impressed as much as Studfaust do on their album. A must for all punk and metal infused rock ‘n’ roll fans everywhere.

Where The Underdogs Bark is available via Soulseller Records now @ http://www.soulsellerrecords.com

https://www.facebook.com/Studfaust

9/10

RingMaster 15/08/2014

Immoral Discipline / Dead On The Streets Split EP

IM DOTS 7 Inch Artwork FRONT

This week Rebel Sound unleash the 7” Split between Immoral Discipline and Dead On The Streets, two US bands raging with Oi punk voracity joining for one raw and enjoyable fury. Uniting a band born in the heyday of the genre with a new protagonist for an uncompromising rapacious front, the release makes a proposition which does not push boundaries or hold startling surprises but certainly brings forward another thoroughly satisfying and invigorating slab of street punk to stomp along with.

First of the antagonists Immoral Discipline is a quintet from Washington D.C. which formed in 1986.From their first days the band was making a strong imprint on the Oi punk scene with their presence and sound, one which has still lingered over the years since their break up in 1989. Their demo Boots and Braces, Stars and Stripes in 1987 set a marker for the band and following genre bred bands, which in the following year the EPs Battlefield and a self-titled successor replicated. Live the band also earned a formidable reputation as they played with the likes of Agnostic Front, Half Life, The Adolescents, Leeway, Biohazard, Forced Reality, Best Defense, Uniform Choice, Warzone, Black Market Baby, Youth of Today, The Exploited and many more. Several line-up changes occurred across the years before the band called it a day, that was until founding member Shawn Garard Leahy brought Immoral Discipline back in 2011 as attention and a potent buzz around the release of a retrospective CD continued to grow. With past members placed in different parts of the country, Leahy with their blessing recruited a new line-up going on to play festivals and shows with band such as Stormwatch, Steel Toe Solution, Broken Heroes, Hub City Stompers, Pharmacists, Unit Six, The Traditionals, Iron City Hooligans, Warrior Kids, and Offensive Weapon. Currently working on a new album, the band uncages a couple of new tracks for this release, two shots of caustic might which shows they have returned harder and fiercer than ever.

     Riff RAF hits ears first, the bleating of sheep within a sonic swarm the key to a belligerent stride of snarling riffs and thumping rhythms. It is prime punk rock, the vocals of Leahy a raging protagonist which rile against thoughts whilst inciting great anthemic lures of group shouts. Production wise it could have been kinder to the frontman’s attack, it lacking the depth of bite expected, but it does not prevent his incitement hitting as hard as the irresistible hooks and the perfectly stirring basslines which course through the tempest. The song feeds expectations yet opens up a freshness and voracity in sound which makes their forthcoming album something to keenly anticipate, something the following Stay at Home Skinhead adds to. Once again the guitars surround ears with a sonic breeze before striking the flint to a stomping rampage of rabid beats and scarring riffs speared occasionally by searing melodic enterprise. It is a full-on punk anthem taking no prisoners as it ignites the passions. Listening to the two songs it is easy to understand that though they did not get the full recognition at the time how Immoral Discipline has inspired future Oi sounds and bands since, Dead On The Streets we would suggest one example.

Hailing out of Pittsburgh, Dead On The Streets emerged with their animosity last year, thus a band as fresh as newly baked bread and just as flavoursome. They also enrich their invention with the origins of the genre, creating honest and straightforward contagiously potent incitements. Early Grave is their first offering, a track which beats out a rhythmic coaxing before spreading out a bruising of coarse riffs aligned with catchy hooks. Walking with a more punk rock fuelled gait, the track merges old school simplicity and again raw snarling vocals to dirty rock ‘n’ roll revelry. It also is not a surprising encounter but a thrillingly magnetic one left in the shade a little by America Today. Stabbing riffs and a delicious almost psychobilly like bass bait opens up song and eager attention initially, before the song casts a masterful blaze of grazing persuasion and virulent hooks. The bass constantly seduces across the song, its charm and growl irresistible, but equally the guitars flirt and enthral ears with an adventurous flame of enterprise. Whereas its predecessor was pleasingly yet predictably sculpted the second of their songs is a thrilling intrigue and imaginative fired riot showing more of the diversity and strength of the band’s sound.

Dead on the Streets is a band to keep a close excited eye upon and Immoral Discipline an inspiration which has returned to more than likely set new seeds down for future emerging artists. Together they make for a highly enjoyable and enthralling encounter with their split, of which more of the same would be very welcome.

Immoral Discipline / Dead On The Streets Split EP is available now via http://www.rebelsoundrecords.com/ on 7” vinyl (300 Black vinyl, 100 Red vinyl, 100 Milky Clear vinyl with Blood Red Splatter) and digitally (including an extra track from each band).

https://www.facebook.com/ImmoralDiscipline

https://www.facebook.com/DeadOnTheStreetsOi

8.5/10

RingMaster 01/07/2014

 

Violation Wound – Self-Titled

violation wound pic

The fact that Violation Wound is the brainchild of Chris Reifert, a musician who has been a major genre shaping instigator through Death, Abscess, and Autopsy alone, is enough to make his new proposition a must investigation. The fact that it and its self-titled debut album is a rigorously exciting and enjoyable fury is an extra unbridled bonus.

Violation Wound is Reifert creating a dirty uncompromising brawl of punk rock and metal with hardcore ferocity, a sound and release which finds its seeds in old school punk/HC whilst forging its own distinctive voice. It is not a sound which rips up templates but certainly one which makes Violation Wound a fresh and viciously attention grabbing prospect. Reifert formed the band in 2013, the response to an ‘itch’ to play traditional pissed off punk rock. Moving from his usual position behind the drums to guitar and vocals, he enlisted friend and ex- Fog of War bassist Joe Orterry and current Fog of War drummer Matt O’Connell into the idea and band. The trio set to work creating and uncaging their punk ferocity which is perfectly caged within the album. Also featuring guest appearances from Autopsy guitarists Danny Coralles and Eric Cutler, the release like its sound is as raw and honest as it comes. The production is minimal in many ways and also as raw as it comes, allowing the heart, passion, and hostility to songs to breathe without restraint. The album plays like a collection of tracks brought together from different times or recordings, acting with an almost ‘fly on the wall’ like presence over a torrent of live performances. You feel and smell the sweat and aggression in the songs; immerse in their primal essence and emotion as they roar at the world. It is not a release for those without an appetite for the origins of punk in its most vicious guises, but for those where fire in the belly burns with vicious causticity, it is a must.

The album starts with a ferocious bang, opener Don’t Believe It a fire of abrasive riffs and crunchy rhythms over which Reifert snarls and violation wound coverart growls out the lyrics. Sex Pistols like hooks also sears the oppressively raw encounter, adding to the instantly contagious lure of the song. It is a tremendous start, especially with a great expulsion of guitar enterprise towards its conclusion, which leaves the next up Eyes Red And White in its wake. To be fair the track flies at the jugular with jaws clenched ready to rip out the throat of the senses for another riveting and blistering thrill but it is unfortunate to be sandwiched between the strong starter and the excellent Seeing Scars. At even at this point assumptions are set for the feel and voice of the album which the third song pleasingly confirms with its caustic graze of sonic hostility, vocal maliciousness, and rhythmic predation.

It all makes for a formidable and compelling entrance by the band swiftly put into context by the brilliant Glue Trap. Again riffs and rhythms are just a crescendo of vitriolic energy and intent to lay down an appetising canvas. A base which is then dealt exhaustive exploits of heavily throated grooves, spiteful hooks, and a flame of harmonica toxicity. It is barely over one minute of classic punk mayhem, a mix of Circle Jerks and The Exploited with just a touch of Stiff Little Fingers and quite outstanding.

Band and album continue to excite and impress in varying degrees, the likes of the Dead Kennedys sounding Everywhere is Nowhere with its irresistible niggling barbed hook and anthemic chorus and the surely Motorhead inspired rock ‘n’ roller Brian In A Sling casting new infestations into thoughts and passions whilst tracks such as the emotionally grizzled metal fuelled In My Veins and The Ramones kissed Disposable Soul without reaching similar heights still inspire and ignite a greedy hunger with their sonic and muscular vehemence. To be honest there is not one track which does not leave an invigorating and lingering mark, the depth of the savage rancor and occasionally the raw production helping choose some tracks over others as favourites, as well as of course the richness of hooks and shapely riffs, but all songs easily spark new strains of greed towards the album.

Bigger highlights of the album come in the eye balling intense Disconnection and the ridiculously catchy Complaint Box, a song which in fifty two seconds simultaneously bewitches and ravages ears through to emotions like a dangerously peeved tornado. Their triumphs though as soon exceeded by the abrasing animus of Off The Rails and the even stronger alienation of Circle of Wounds, a track where discord and anthemic potency align for a mouthwatering slice of brutal invention.

Brought to a potently solid and enthralling close by the lethal punk croon of Learn and Burn and the heavier rock bruising of Nothing To Say, the album is an excellent bridge to old school punk and modern ferocity which sparks an anticipation of much more from the band, hopefully this not a one off project. Flaws on the album, if they can be classed as real issues, is the production which meanders too much across the songs and as evidenced by the last two tracks, at times there is a too close a similarity between some tracks. That though is more than anything just finding something to temper the enthusiastic recommendation we can only make to all wanting honest merciless punk rock.

Violation Wound is available via Vic Records @ http://www.vicrecords.com/ now!

www.facebook.com/Violationwound

9/10

RingMaster 27/05/2014

Copyright RingMaster: MyFreeCopyright

 

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Nervochaos: To the Death

Nervochaos Photo 2

    Raw, ravenous, and potently aggressive with a maelstrom of insidious grooves which just tease and coax the passions into their version of an erection, To the Death is an album you just cannot avoid finding strong affection for. The new release from Brazilian metallers Nervochaos is not without flaws or maybe a sense of a lost opportunity but it also leaves one more than satisfied and willing to share precious time with the release on a regular basis.

Formed in 1996, Nervochaos has unleashed their underground acclaimed blend of death and thrash metal consistently through the years and over a series of well received releases. They do not offer the most angry or violent sound around and you will find other more intense and destructive encounters elsewhere for sure but as with this their fifth album, the band has a compelling presence and creativity which ticks enough of the right boxes to be a welcome and pleasing companion. The grooves unleashed within the death metal breath and thrash powered bruises posing as songs are of a devil spawn irresistibility and make the band one you cannot ignore. Released via Cogumelo Records, the new album follows their live album of 2011 and the previous full length release Battalions of Hate of the year before, both Tumba Records released. Gaining a cult status in the underground extreme metal scene the quartet of vocalist /guitarist Guiller, guitarist Quinho, bassist Felipe Freitas, and drummer Eduardo Lane, has equally impressed alongside the likes of Venom, Cannibal Corpse, Agnostic Front, Mayhem, The Exploited, Carcass, Divine Heresy, Ragnarok, and many more, the quartet continually adding to their strong reputation.

The album opens with the high energy Mark of the Beast, a fury of unforgiving rhythms and gnawing riffs shaped around a hungryNervochaos To The Death Cover persistent groove. It does not offer anything new or inventively breath-taking but like a sonic magnet has ears and attention locked into its unfettered energy. Ok it is relatively undemanding but still opens up the album with an accomplished and riveting presence which sets up the rest of the release perfectly.

Sheep Amongst Wolves with its gnarly bass and serpentine sonic flames stands tall next to continue the emerging compelling persuasion of the release. Again there is irresistibility to the flowing craft and intent of the song with another defined groove at mischievous play alongside further inviting melodic fire from the guitars. It does not quite live up to the opener but makes a more than decent bridge to the first of the highlights of the album in Your World’s Trend. This track opens almost identically to how its predecessor ended but soon opens up a variation to the sonic beckoning and pummelling rhythms it unleashes. It is the group vocal shouts alongside the persistently scarring scowls of Guiller which help raise the game further and lies impressively against the excellent erosive grind of the track.

Whilst the following likes of Gospel of Judas, The Exile, and Smoking Mortal Remains ensure one is gripped by a strong need to delve deeper into the album, the release saves its finest moments for a couple of tracks nestled within the trio. The title track opens with the snarling bass opening its deep cavernous throat with tight mesmeric grooves of the guitars soon joining the confrontation. Unrelenting rhythms soon entrap the senses within their merciless tempest whilst now into its stride, the track sets frees a deluge of eager synapse chewing riffs and a sonic whipping which leaves only bliss in its glorious wake. It is two and a half minutes of delicious enterprise and greedy contagion impossible to deny and heartily welcomed. To match the impressive attack of the first the following Hate piles on more infectious riffing and primal chuggery around instinctive rapture sparking twisting grooves.

Arguably the album never reaches the heights of this excellent pair elsewhere but still offers plenty to grab the imagination. To the Death does have a familiar uniformity across a lot of its creativity and sound which holds the release back reaching the depth of acclaim maybe it could have found but is still impressive and enjoyable enough to make the album one easy to recommend. As songs like Mind Under Siege, Destroyer of Worlds, and Warlords Unbound continue to make the encounter a pleasing one this is an album that is easy to continually return to and Nervochaos a band with some of the most agreeable grooves and riffing ability around.

www.facebook.com/NervoChaos.

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright