Foetal Juice & Human Landfill Split

Split artwork

Picture the scene, you are lying naked on a cold floor, your entrails being clawed from your thrashing body as surrounding bones are ground into the merciless surface under you. Despite the assault all you can think about is the swinging hypnotic light accentuating the visceral portrait. That is what listening to UK extreme metallers Foetal Juice is like, a savaging violation of the senses equipped with a bewitching of contagious grooving and irritable hooks. Further proof comes in the new split release from Grindscene Records which lines up the Bury quartet with the equally mercilessly vicious and equally magnetic US band Human Landfill. Unleashing six tracks of grind and death metal inhospitality; the EP is a mouth-watering intrusion which just gets under the skin.

Since forming in 2005, Foetal Juice has been an increasingly potent and striking protagonist on the British extreme metal scene. An early demo was followed by their self-titled debut EP which certainly nudged attention their way, though it is fair to say that it was A Split Worse Than Death, which saw the band share its twenty one tracks with Basement Torture Killings, Decimation, Zombified, and Nailed, and certainly their Big Trouble in little Vagina EP, both in 2013, which sparked new intensive interest in the band. Live too the band has been earning an increasing reputation and acclaim, shows with the likes of Entombed, Wormrot, Exhumed, The Rotted, and tours with acts such as Desecration, Basement Torture Killings, and Zombified only pushing the band into broader spotlights. Now they have this new split to twist up British metal and listener’s psyche, which they do with devilish efficiency and craft.

Their first track is recent single Albert Grindstein, a gem of an incitement whose video upon its solo release gained 30,000 views in a handful of weeks. A sonic lure and beats keen to escape their leash make the first trespass of the ears, their bait swiftly ripped apart for vitriolic grooves and thunderous rhythms to descend ravenously on the senses. It is a gripping assault, the raw vocal squalls being driven by caustic venom whilst guitars cast an inescapable web of acidic grooves and predatory hooks. Behind the bloodlust there is that swing hinted at in the opening of this piece, its swagger as prevalent and persuasive as the individual textures which collude to exploit the listener’s weakest points. It is a treat of a track matched swiftly by Blue Waffle. In some ways this is an evil, more brutal scourge of sound and intent, but again it has that contagiousness which rich grind and death metal thrives on to express deeper and further reaching aspects. It is also more bestial in presence, a bear like smothering which voraciously barks rather than gutturally growls vocally, but devours wholly all the same.

The band’s final offering is Tumour Has It, and it is more of the corrosive same just in an individually appealing and intimidating guise. Grooves and twisted rhythmic assaults create the irresistible canvas over which vocals spill every fluid ounce of their rancor and hate. As the previous pair, the song is sheer creative spite and virulent temptation for any grind and extreme metal enthusiast.

There is much less to reveal about Ohio band Human Landfill as background, though they appear to be a duo consisting of guitarist/bassist Larry Brown and vocalist/drummer Shawn Slusarek, the latter also a member of death metallers Necrophagia. Again they bring death metal and grindcore into a flavoursome brawl, as evidenced on the split, before which a single and well-received debut EP, The Dead Are Not Silent has been tucked into their antagonistic belts.

   Acid Vat Descent is their opening play and instantly there is a raw intensity to their sound and song compared to that of Foetal Juice, you could almost say a sombre nature to its outpouring of malice. The song has a few strings to its violent bow though; darker grooves and a great scarring blend of vocals bringing the unpredictability and adventure always needed. The song seems to lose more inhibitions as it explores its addictive qualities and though the flame of a solo does not quite work for personal tastes and the fade out frustrates, the track is a great introduction to the band.

Their other pair of tempests similarly stirs up appetite and increasing enjoyment, Corpse Wine first providing a torrent of primal riffs and sonic acidity within an evolving gait of rhythmic predation. Whereas Foetal Juice’s tracks seem to instantly ignite the passions and hunger, Human Landfill takes a slower but persistently persuasive route to, certainly on the EP, breach the same kind of success. Their second song is a compelling offer but soon overshadowed by the outstanding Dirty Bomb Euthanization. All the hints of uniqueness and manic agitation in design and delivery found in the first two songs come to full life on their third, the track at times a tsunami of lethal beats roared on by vocal rapacity and in other moments a twisting temptation which bares all the wiles of a demonic temptress.

It is an impressive end to an excellent union of two of the world’s exciting emerging bands. Foetal Juice is a bit of a known prospect already to be fair and has only enhanced and pushed on again their thrilling presence whilst the relatively unknown Human Landfill, until now, have surprised and only highly impressed. So there we have it, another fine split all metal fans should explore.

The Foetal Juice & Human Landfill Split is available via Grindscene Records now @ http://grindscenerecords.bigcartel.com/product/foetal-juice-human-landfill-split-pre-order

https://www.facebook.com/FoetalJuice

RingMaster 05/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

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

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Foetal Juice – Big Trouble In Little Vagina

Foetal juice band pic

Savage and ridiculously addictive, Big Trouble In Little Vagina the new EP from UK death metallers Foetal Juice is instant evidence of a brewing vibrant storm within British extreme metal, making the suggestion that it is coming up to a glorious period. The five track release is a full on predator, a fury of insidiously contagious mayhem with an old school heart and breath driven by a modern technical and ravenous craft which rivals and pales releases trying to sculpt wholly new ventures for the genre.

Formed in 2005, the Manchester quartet has already earned and built a strong stature through their previous releases and live performances which has found the band sharing stages with the likes of Kastrated, Ghoul, Cannabis Corpse, Neuroma, Wormrot, Exhumed, Severe Torture, Anaal Nathrakh, Desecration, Prostitute Disfigurement, The Rotted, Slit, Life Denied, Cerebal Bore and many more. Their self-titled EP of 2010 brought firmer attention upon the band but it was the split release A split worse than death via Grindscene Records which really awoke major recognition for the band and their contribution to the release alongside the bands Nailed, Basement Torture Killings, Zombified, and Decimation. Its success and their striking efforts led to the label immediately signing the band up for the creation and release of Big Trouble in Little Vagina, a wise move you realise as its impressive powerful presence consumes the body.

The title track smears the senses in sonic vehemence to start things off, it’s opening breath of barbarous rhythms from drummer Rob 62657062519Harris and the air scorching riffing and sculpting from guitarist Ryan an instant fuse to total attention and the stalking stride and heart of the song. Vocalist Sam Read growls and squalls with guttural irreverence, ensuring lyrical narratives are unavoidable if often unintelligible. It works perfectly and makes a bestial provocateur to the groove licking fire of the sound. With a danger of whiplash to its recipients, though its generally even predatory pace ensures recklessness is absent for the main, and torrential venom to its corrosive invention, the track is a tremendously addictive start to the EP, one soon backed up by its successor.

Brewkakke, a re-recording of their 2012 single, also takes no time to contemplate its actions, riffs striking with ravenous intent from the off and the rhythms whipping splinters of cartilage from the ear with their muscular animosity. Even more primal than its predecessor the track leaves full appreciation the only option before its truculent jaws, the bass of Ben Read even with its less expected reserved sound and savagery a stirring instigator whilst the guitars again make a compelling toxicity which seeps through every pore of senses and imagination to seal the deal. The track is not quite as breath-taking as the first but with greater intensity and cruel dark hearted persuasion it is its equal.

    Semen Evil Smear No Evil is also a re-recorded track, this time taken from their debut EP. Accomplished and ruthlessly efficient in securing the already greedy appetite, the track is a blaze of vitriolic vocals and a mutually venomous guitar ravishing of the senses. There is something missing to place it at the levels of the previous tracks and those to follow, but the song is nevertheless a rampant creative violator which gives satisfaction another healthy dose of pleasure.

The final two tracks Serpents Of The Northern Lights and Service Station Masturbation, do take a grip of greater plateaus, the first through its sheer quarrelsome presence and corrosively absorbing destructive carnality. For most of its annihilatory flight the track storms with plenty to keep expectations employed though it is brought with a craft and violent flair which makes them escape banality. It is the constant twists and flares of adventure which can often slip by such their lack of intrusive intent that bring the assault to greater life and intrigue though for a thrilling result. The closing track takes the top honours on the release, its magnetising grooves and again the excellent mixed vocal scowls a template for lustful thoughts whilst the crippling bombard of outstanding rhythms and the exhaustive invention within the ingenuity of the guitar molestation is a seduction with the guile and rabidity of a pack of wolves.

Foetal Juice on the evidence of the excellent Big Trouble In Little Vagina has all the skills and invention to help take UK extreme metal to the world. It maybe looks away from originality with a sound which reminds of bands such as Gorerotted, Cerebral Bore, and Deicide, but for technical craft and passionate energy not forgetting explosive enterprise, the EP is a majorly promising and thrilling proposition.

www.facebook/foetaljuice

8.5/10

RingMaster 10/10/2013

 

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Rex Shachath: Sepulchral Torment

Though it is great to see genres evolving as bands stretch their boundaries it is just as appetising and satisfying to hear the old school sounds continued with style and heart. This is just what Northern Ireland death metalers Rex Shachath do with their debut mini album Sepulchral Torment. It is a release which is neck deep in the depths and passion of old school death metal but ignites them with their own energy and skilled presence to bring arguably one of the freshest and enjoyable genre releases this year.

The band was formed in the closing weeks of 2011 by vocalist Dave Connolly who approached Overoth guitarist Andrew Pennington about starting new death metal band. The pair soon became a quintet as drummer Jay Rogers also from Overoth along with bassist Eddie West and guitarist Jonathan Francis from defunct old school death metal band Sadisture, joined the ranks. The band entered the studio earlier this year to record Sepulchral Torment, which had its release on September 7th via Hostile Media, with the live debut of the band occurring the same time when they shared the stage with UK D-Beat Death metal masters The Rotted and grind quartet The Obscene Machine. With a tour booked for late September through October which will see Rex Shachath touching the likes of the Scottish highlands, Wales and London, and the release of the mini album, there would not be an element of surprise with the great impressive quality of the release, if they are immediately marked for great things by all.

The title track immediately tells you all you need to know about the band: brutal, accomplished, and driven to make the best sounds possible with as much aggression and inventive passion. The song storms through the ear from the first note with sheer hunger and determination to leave knees buckling in its wake. With surging riffs and combative rhythms the track brings submission its way before unleashing a consumptive intensity and acute melodic breath to shadow the excellent growling guttural presence of Connolly. Generally if there is an issue to be had with death metal bands it lies within the vocals more often than not but not here. As malicious and rabid as you could wish, Connolly still retains clarity to allow the lyrics to express their own venomous intent.

It is a very impressive start with great heated guitar work which is easily matched by the next track Follow The Bastard Prophet. The track too surges with a greedy enthusiasm which instigates a hypnotic pull from the first breath, the guitars of Pennington and Francis twisting and winding around the ear with magnetic skill whilst the bass and drums of West and Rogers bring a cold predatory presence which marks all songs. Though the tracks are at times as brutal and callous as you could wish one has to say they do carry sonic warmth to their enterprise to add depth and imagination.

Blind From Birth and Seven Serpents continue the immense pleasure the release has already offered up, the swarming malevolence of the first a sneaky assault behind the scorched guitar work and rasping guttural groans and squalls of the vocals whilst the second just rampages across the bruising already brought to bear by the whole release to this point, its hornet groove a grinding rub over the senses.

As the excellent Statues Of Death brings the release to a close there are only impressive thoughts and emotions evoked towards the release. Arguably the production could have been a little livelier but the quality of the songs ensures it does not remove any of their shine in what is overall a mighty introduction from the band and a benchmark for other new bands to aspire to. Remember the name Rex Shachath as it will be one heard more and more in the years ahead.

www.rexshachath.com

RingMaster 08/09/2012

Copyright RingMaster: MyFreeCopyright

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