Human Bodies/Leather Chalice – Split

HB cover art_RingMaster Review

In a union to scar the psyche and corrupt the senses, Broken Limbs Recordings have unleashed a 7” vinyl split release between New England hailing Human Bodies and Leather Chalice, a hellacious proposal of pure black metal malevolence and rancorous hardcore viciousness. These are two bands building a potent name for themselves and they do their reputation no harm wit this intensively rabid encounter. The four-track EP is painfully corrosive and fuelled by creative hate, but if that is your recipe to bliss, then this is an encounter demanding keen attention.

Human Bodies_RingMaster Review     The first two tracks come from the Boston foursome of guitarists/vocalists Terzakis and Gabe, bassist Jason, and drummer Dan, collectively known as Human Bodies. The band began in the October of 2013 as a studio project, developing over time into a fuller line-up and live presence to go with the well-received No Life cassette EP of last year. Just off of a successful full US tour, Human Bodies entangle ears in a rhythmic web as their first offering on the split, Only the Sigh feistily prowls into view. Energy and intensity continue to rise as a bestial bassline colludes with sonic hostility where guitars are ravenous and vocals raw intrusive squalls. It is an uncompromising attack yet has a swing and swagger to it which welcomes body and attention as much as its sonic trespass tries to defile them. It is lethal contagion and an outstanding start to the release which runs straight into a similarly alluring violation in the caustic shape of Malice Prepense. Repetitious beats and riffs again entice and spark a healthy appetite whilst a doomy cancerous breath smothers the listener to simultaneously temper the virulence but increase the potency of the whole malicious incitement.

Leather Chalice is the solo blackened punk project of Jann from Ramlord, who brings inspirations from Venom, Discharge, and “depression and Leather Chalice_RingMaster Reviewtotal defeat of the human spirit by modernism” into his ruinous tempests of blackened punk loathing. Good Intentions (Coming Home I) is his first offering, an abrasion of erosive and raw cancerous morbidity which is as fearsome as it is sonically compelling, whilst Last Gifts of Worship (Coming Home II) takes all the enmity of the previous song and twists it into an even harsher and surprisingly catchy enticing. Of course that infectiousness lies beneath a tsunami of ill-will and rancorous intent which to swim through is as painful as it is rewarding.

Only The Sigh might have emerged as just the favourite track here but between them Human Bodies and Leather Chalice uncage four dangerous and highly enjoyable onslaughts which fans of black metal, hardcore, and violent post punk should take a deep breath and dive deeply into.

The Human Bodies/Leather Chalice Split is available now on Ltd Ed 7” vinyl via Broken Limbs Recordings in co-operation with Prison Tatt Records.

Pete RingMaster 23/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hell Puppets – Theatre of Sin

Hell Puppets_RingMaster Review

Picture the scene, after one flawed but certain success Victor Frankenstein’s ambitions go full out to feed his appetite for rabid music. So with bodies embalmed with the raw irreverence of Frankenstein Drag Queens From Planet 13, the ravenous metallic animus of Morgue Orgy, the virulent contagion of Dope, and the punk mischief of Dirt Box Disco, he created EviL-P, BeLiaL, GRavES, BeeLzEBeN, and SaTurNiST to spread the red and devour the soul. Or it might simply have been the Devil which dragged Hell Puppets from their English graves to conjure and release the lustful addiction that is Theatre of Sin.

The debut album from the Sussex bred quintet is a carnivorous vaudeville of horror and creative drama cast across a dozen songs which just thrust a knife of contagion through the heart and continually twist it with a bounty of punk ferocity, metal predation, and rock ‘n’ roll devilry. It drew a big grin on the first listen and a lustful stalking from the second, and fair to say since its release a couple of weeks or so back, we are not alone in adding the release to our cellar of favourites.

With members hailing from London, Brighton, Chichester and Lucifer’s right hand, Hell Puppets emerged in 2011 infusing inspirations from the likes of White Zombie, Pantera, Sex Pistols, Slayer, and Misfits into their swift attention grabbing fusion of punk and metal draped in horror, the occult, and Demonism. The first year saw the band solely concentrate on creating and honing their sonic infestation before setting out on their live scourge of the UK. A live session for a local radio station marked the growing emergence of the band during the next year before in 2013 they began recording debut EP No Strings Attached which was released in the following January. An increasing number of acclaim garnering shows surrounding its well-received introduction to the band and since with a support slot with The Hell later in 2014 another highlight. It was a successful year certainly eclipsed by this, as fresh from playing Bloodstock and touring with Meta-Stasis in support of their debut album, we simply have Theatre of Sin.

Theatre of Sin_RingMaster Review   From the opening carnage of Bow Bells, band and album has ears and imagination gripped. The brief track is a visceral scene setter for the following …From Hell, a blood dripping, flesh ripping introduction to the murderous streets of Victorian Whitechapel and the lust of Jack The Ripper which its successor impressively runs with. The second track to a concussive ring of bells rolls out an epidemic of inciting rhythms and growling vocals within a horde of punk riffs and tenacious hooks. All those bands initially mentioned come to thoughts as the track throws its sinew loaded attitude and mischievous insanity across the senses, yet as good as a hint that they are, the track is something demonically distinct to Hell Puppets, as too it emerges, the album. The band certainly cuts straight to the chase with the best track on Theatre Of Sin but there is no downward slope to follow, even if tracks can only closely sniff at the brilliance of the full opener.

Hung, Drawn and Slaughtered is one which runs it close, its blackened soul and horror punk fury colluding in another quick slavery of infectious hooks, grooves, and unpredictability. As many songs within the album there is a familiarity to it which seduces with the charm classic evil always has, a broad smile which captivates as djent kissed riffs and death instilled voracity works away at the senses and psyche narrated by the varied squalls of vocal animus.

From that metallic tempest another in the caustic shape of Born To Die steps forward, its body a maelstrom of glam and hard rock with punk ‘n’ roll tendencies aligned to metal ferocity. It is a stomp which seizes neck muscles and vocal chords to do its bidding before Project Mayhem uncages its primal anthemic roar laying somewhere between Black Dahlia Murder and Therapy?, and Political Diarrhoea taps into the punk beds of The Damned, The Vibrators, and Misfits for its rapacious stroll and lyrical agenda which gets the job done without fuss or wastage.

From an imposing shadow cast by the classic shark attack sound, complete with nasal secretions, the deranged hardcore fuelled roar of Drugged Up Shark excites and disorientates leaving ears prey to the clutches of Halloween, the band’s Christmas song. Only kidding, but it is a track which just keeps giving from its Carpenter inspired theme and melodic coaxing through to its grungy death infused sonic rancor. The track is glorious, another revealing new nuances and defiling attributes with very listen, much as We Are The Enemy and its whirlpool of insidious death metal, bracing rock ‘n’ roll, and juicy grooving. Imagine The Sex Pistols, Turbonegro, and Venom severely shaken until their juices merge and you get a glimpse of another big highlight amongst many within Theatre of Sin.

Morbid Mirror twists and turns like a clawed seductress next, its lithe grooves and rasping vocals bringing a mix of Grumpynators and Murderdolls whilst slipping into richer blackened spite throughout, especially vocally. Once more ears and emotions are lost to Hell Puppets and kept by firstly the bestial, mordant sound of The Decunted and finally the mouth-watering discord and sonic antipathy of Face the Reaper. The track is a bad-blooded smog of noise and sonic pollution which just brings the bedlamic acts of Theatre of Sin to a fitting ravenous climax.

The album is a wonderful desecration of body and soul and if any of those bands we mentioned as hints appeal, as well as something new and dirty to the touch, and the fact the Hell Puppets is our new favourite trespass, then hopefully we have incited you to be brave and enter the Theatre of Sin.

Theatre of Sin is available now via Hell Puppets’ Bandcamp.

Pete Ringmaster 15/09/2015

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Frostbitten Kingdom – The Winter War Symphony

FK Cover 1500x1500

The Winter War Symphony has had a battle all of its own in its journey to face the world, a turbulent adventure which finally comes to an end with its global release via Wormholedeath. The transfixing creation of Finnish extreme metallers Frostbitten Kingdom, the five track release is a breath-taking and epic exploration of a stark landscape within a grim world flooded with just as erosive and haunted emotions. Its title perfectly sums up the encounter and its rugged terrains of malevolent and brutal hostility aligned to an impassioned melodic and symphonic beauty, black and death metal combining for a gripping and ravenous dark emprise which shows no mercy for the senses but inspires the most vivid exploits in the imagination.

Hailing from Turku and formed in 2004, Frostbitten Kingdom drew on inspirations from bands such as like Dissection and Immortal as they explored and cast a sound drawing on Scandinavian black metal as well as US strains of death. From debut album Through Nightfall Storms and Sunless Dawns in 2007, the band was increasingly drawing attention at home, and as the Towards the Battlefields MCD of the following year, second album Obscure Visions of Chaotic Annihilation, and third Infidel Angel in 2009 and 2010 respectively continued the band’s emergence, tapping into a wider and broader spotlight. The latter releases also showed a stronger influence of American death metal, with essences of bands like Deicide and Immolation being offered as references. Their live presence equally drew potent interest and praise as Frostbitten Kingdom played with bands such as Bal-Sagoth, Solstafir, and Venom.

2011/12 saw the band concentrate on writing and recording fourth full-length The Winter War Symphony, with its release scheduled for 2013 through No Sign of Life, who had released the previous album. This was thwarted when already after a couple of delays, Frostbitten Kingdom read in a magazine of the sale of the label. With the new owners surprisingly not interested in releasing the album, a mystery such its majesty, and the loss of bassist and guitarist leaving the band as just H. Kanervo (vocals, guitars, keys) and S. Vainio (drums), things had stalled. Earlier this year though the band put The Winter War Symphony out as a promo, it swiftly earning acclaim and attention, including that of Wormholedeath who contacted Frostbitten Kingdom and struck a deal to digitally distribute the album worldwide. Long overdue but finally with the widest stretch of ears and imaginations available for persuasion, The Winter War Symphony is poised to stake its claim as one of the year’s triumphs.

Warfare & Wilderness begins the epic musical and lyrical narrative, its opening harmony of classical hues within orchestral elegance bewitching. Strings and keys transfix ears and thoughts, the melancholic air of the music as hauntingly emotive as it is gently portentous. Eventually its sorrowful beauty evolves into an equally melodic and tenacious roar but courted by stern riffs and sinister shadows, a tempest in waiting which breaks free when raw caustic vocals spark thumping rhythms and even heavier drama. Light and dark conflict and collude within the still mesmeric encounter, its climate darkening with every chord and melody yet still taking the listener on an invigorating and radiant flight.

The opener is a proposition which works away as forcibly on the imagination as ears, allowing thoughts to ignite their own adventure aligned to that of the band’s intent. The following muscular storm of The Battlefront is the same, though the blunt force and creative hostility of the track dictates the unveiling in song and mind predominantly. As in the first and subsequent songs, it is the varied sonic endeavours in the track which steals the passions most potently, numerous metal flavours stirring within the death bred confrontation igniting the unpredictable and fluid invention which fascinates and thrills across the whole of The Winter War Symphony. The visceral textures around the descriptive sonic and lyrical canvas only draws its recipient deeper into the dramatic heart of tale and release, a lure emulated by the glacial and threatening scenic tones of Sentinels of the Silent Tundra. Bestial elements prowl and intimidate from within the track’s barren yet engrossing bone-chilling climate. It is a harsh domain clouded with sublime melodies and an addictive sonic enterprise, leaving thoughts unsure whether to flee or embrace the soul freezing lands explored.

From the delicious opening hook of the outstanding Lost, Forgotten and Forlorn, ears and emotions are instantly enslaved so that even the subsequent cruel air and voraciously scarring diversity of vocals cannot defuse the appetite to immerse fully into the predacious and exhausting depths of the carnivorous squall. The track is quite scintillating, simultaneously savage and seductive as it ebbs and flows through an expansive and imposingly visual soundscape.

The album finishes within the gelid yet magnetic lures of Lucid Nightmares of Barbaric Brutality, the track a ferocious and barbarous examination of the senses and corrosive intent. Vocals and rhythms threaten whilst melodies and spicy grooves inflame from within the maelstrom of invention and hostility. There is no compromising with the song, or album come to that, but it does not need to with the scintillating craft and enticing imagination veining the challenging treat.

Now it has been uncaged, it is easy to expect The Winter War Symphony to push Frostbitten Kingdom to the fore of extreme metal. For such an impressive and rewarding onslaught they certainly deserve an intensive spotlight being shone their way.

The Winter War Symphony is available now via Wormholedeath through all good online stores.

https://www.facebook.com/FrostbittenKingdom

RingMaster 27/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Antropomorphia – Rites ov Perversion

AntropomorphiA - 2014PR#2

The return in 2009 of Dutch death metallers Antropomorphia brought with it a potent impact on the extreme metal scene especially through the band’s acclaimed 2012 second album Evangelivm Nekromantia. Now the Tilburg quartet unleash its successor Rites ov Perversion, another accomplished and compelling savaging to put a spark into the heart of death metal. It is not an encounter to reshape or offer new realms for the genre but over time certainly one to thrill and add another tasty flavour to its impressive year.

Formed in 1990, Antropomorphia embraced inspirations from the likes of Celtic Frost, Possessed, Death, Autopsy, and Venom as they honed their own uncompromising and honest sound. The demo Bowel Mutilation in 1992 gripped attention, subsequently becoming a long sought after encounter among underground metal fans. Its release led to the band signing with Swiss label Blackened Recordings and the unleashing of Necromantic Love Songs a year later. Its well-received release was followed by band member’s time being taken up by their other projects and Antropomorphia being put on indefinite hiatus from 1999. They did not restrain from writing songs though and in 2009 the band sprung back to life, going on to sign with Metal Blade Records and unleashing Evangelivm Nekromantia. Reawakening interest and drawing new attention to the band, as well as almost getting banned by German authorities because of its violent and occult themed topics, the album led to festival appearances for the band at Neurotic Deathfest and Extremefest. Now Rites ov Perversion is poised to stir things up with its vicious and raw intent, as well as easy to suspect a greater hunger for the band’s imposing presence.

There is no escaping the force and ferocity of the album as opener Temphioth Workings draws up to ears on a crest of rampage riffs and thumping rhythms, all orchestrated by the vocal roar and vehemence of Ferry Damen. Expelling Antropomorphia - Rites ov Perversioneven greater malevolence through the dark tones of Marc van Stiphout’s bass and the increasingly vindictive swipes of Marco Stubbe, the track proceeds to ravish and seduce the senses and imagination respectively. Grooves nag and thrill throughout as the sonic invention of Jos van den Brand and Damen persistently entangle thoughts and song. It is a great start with nastiness to its breath which is just as rich in the following Carved to Pieces, an openly contagious and irritable proposition. Grooves again steal attention and passions, veining the inhospitable climate and intensity of the thrilling offering for an irresistible persuasion.

The pestilential predation of Inanimatus Absqui Anima comes next; its body a crawling ruinous enticement which stalks ears and emotions yet expels a swing to its beats and grooves which belies the toxic animosity drenching its appealing heart. Its success is matched by Crowned in Smoldering Ash, another rapacious proposal from the band taking its time to size up its victim before spilling demonic and sonic toxicity through its hostile design. Neither track matches the heights of the first pair of songs yet bind ears and thoughts in a healthy dose of creative malevolence to keep appetite for the album greedy.

     Nekrovaginal Secretions is a romantic little number if being smothered in venomous riffs and salacious sonic causticity lights your fire. Grooves twist emotions around their acidic flame with ease, again seducing without reserve as a punishing and creative tsunami of rhythms from Stubbe shows little restraint to their precisely skilled animosity. It is a glorious violation of the senses swiftly matched by the ravenous presence of Gospel ov Perversion. The track is a maelstrom of enterprise and raw hostility, merging a twisted melodic radiance with blistering sonic endeavour and rancor.

Through the hellacious and addictive bad blood of Morbid Rites and the intriguing and riveting Tevfelskvnst, band and album reinforce their already virulent animus with compelling force and charm. One thing about the album is the familiarity between groove structures and at times sound, yet they are woven into the individual characters of songs with an imaginative touch which defuses any over familiarity as strongly shown by the second of the two. The track rumbles and snarls from start to finish, the bass of van Stiphout especially inescapable bait within a torrential and impressively evolving landscape.

Completed by a powerfully enticing cover of the Death track Open Casket, the album is a formidable and thoroughly exciting proposition. Certainly it is not venturing into realms unknown but for primal yet organically inventive death metal there have been few releases better this year.

Rites ov Perversion is available now via Metal Blade Records @ http://www.emp.de/antropomorphia-rites-ov-perversion-cd/art_288907/

http://antropomorphia-official.com/

Ringmaster 17/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Morbidity – Revealed from Ashes

Morbidity-RevealedfromAshes

Forging a ferociously gripping old school death metal bred presence with the fury of thrash and more grooves than to be found on the tread of a wet weather racing tyre, Bangladesh metallers Morbidity presents one of the furiously compelling and thrilling extreme metal release of the year. Revealed from Ashes is an insatiable torrent of raw and predatory death metal which infests and consumes ears through to emotions but comes equipped with barbarous hooks and gut foraging grooves to equally give the imagination a torrid and welcomingly intensive examination. It is not a release to sculpt new realms or templates for their seed genre but employing existing strains of voracity and rapacious ingenuity as it does in the band’s own refreshing and seriously invigorating way, the album is a comfortably impressive onslaught.

Hailing from Dhaka, the quintet of vocalist Defiler (Ex-Slaughter Cult), guitarists Skorcher (Retribution) and Azerate ( Nuclear Winter, Ex-Catastrophe, Ex-Urfaust), bassist Sethos (Ex-Idolatry), and drummer Nefarious goes for the jugular with every note and rhythm unleashed. The band’s influences such as old school Grave, Morbid Angel, Dismember, and Death, as well as the likes of Carnage, Slaughter, Impaler, Kaamos, Grotesque, Entombed, Cancer, Benediction, and Venom openly spice up the irrepressible Morbidity sound and it is easy to see why the band is garnering and earned strong attention and support in their spot on the globe.

The album breaths out an atmospheric mist initially as intro instrumental Decaying Souls spreads its haunting enticement. As death knells toll a thrash seeded stride crosses ears to the senses, a mystique kissed Metallica like groove entwining their swiftly satisfied welcome as the otherwise weighty coaxing of the track warms the imagination and appetite for the impending fury of Incarnation Of Death. The second track unleashes the floodgates of a voraciously intensive rhythmic testing and similarly eager riffery. Acidic grooves and continually twisting guitar enterprise binds the raging rhythms and song intensity as tightly and magnetically as they do the seamless step into a more reserved but no less rabid passage of suasion. Skilled sonic expulsions burn impressively on the senses to add stronger toxicity to the impressive storm whilst the guttural scourging masked as a vocal deliver from Defiler, just hits the submissive sweet spot perfectly.

There is a familiarity to the track and the following Let There Be Chaos, as across the album, which defies a real sense of originality but only adds to the roaring pleasure found in the searing might and weight of the incitement. The third track again unleashes a bestial ferocity and uncompromising flood of thrash seeded riffery and death metal corruption to remind that no matter how enjoyable and impressive some of the modern twists on the genre are, there is something about the origins of death metal which hit the primal instincts for unrivalled rewards.

Both Morbidity and next up Pits Of Eternal Torment ensure the foot is firmly on the accelerator of intensive confrontation and energy. The first of the two bruises air and senses with an avalanche of merciless rhythmic provocation around which the guitars spin a delicious sonic web of enterprise and vitriolic expression. The track sears the hair within ears as its lights thoughts and emotions but as elsewhere it is the pure primal sound of the bass which even within swamps of oppressive sound and adrenaline sets the brutal tone. Its successor is one of a couple of tracks which labours in the wake of those around it, though to be fair with body flaying rhythms and toxic acrid flavouring to the eventful exploits of the guitar and psyche lethal riffing, it is impossible to resist or dismiss the lure of the track.

The title track storms the barricades next leaving an exhausted and thoroughly contented wasteland of emotions, its barbarous hostility and prowling predation constantly prone to tearing chunks from the senses just riveting. Again the track loses some of the early potency of songs but still grips tighter than a dead man’s grip whilst its successor Skullcrusher reignites the richest reactions and passions again with its virulent temptation of malevolent riffs and slowly stalking rhythms beneath the darkest vocal presentation and poison yet unleashed by Defiler. It is a tsunami of spite and depraved death bred maliciousness but one easily happy to hold back at times to prey slowly upon its victim with intensive and intrusive sonic creative violence.

The release comes to an imposing and intrusive close through Unholy Resurrection, its demonic persona and pit spawned malevolence soaking every syllable and psyche splicing chord. The track is an absorbing intimidating final attack bringing an excellent album to an impressive conclusion. Revealed From Ashes maybe short of true originality but it brings everything you could wish for in a death metal release. Morbidity is without reserve a strong recommendation for all after old school malice.

Revealed from Ashes is released via Memento Mori shortly http://memento-mori.es and on vinyl via Me Saco Un Ojo Records http://www.mesacounojo.com

https://www.facebook.com/pages/Morbidity/133630130030339

8.5/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Doom’s Day – The Devil’s Eyes

 Photo: Phil Rousseau photographe

Photo: Phil Rousseau photographe

    The release of their debut album The Unholy just over a year ago brought Canadian occult metal/horror punk band Doom’s Day into a closely inspected view and though in many ways the release was more promise than substance it was a thoroughly enjoyable encounter sparking intrigue and anticipation of greater things ahead. Their second full-length The Devil’s Eyes, easily justifies those expectations and hopes with its eight gothically atmospheric striking songs. With a maturer sound and better production than its predecessor, the release unveils a band with still plenty more surprises and potency to come you suspect but in the midst of an impressive evolution.

     Hailing from Quebec , Doom’s Day has been on a steady and recently rapid ascendency in grabbing attention, locally through their live shows and more widely with The Unholy. Originally released as a hand numbered CDR consisting of just 50 copies, the album drew the attention and enjoyment of PRC Music owner Remi Cote who proceeded to give the record a wider re-release. Certainly no stranger to strong and positive responses, the album made a good base for the band to move on from which their new album, again out via PRC, has explored to impressive success. Continuing with a sound seemingly seeded in the likes of Mercyful Fate, Venom, Ghost, and at times early Misfits, The Devil’s Eyes brings a stronger unique voice to the band, one arguably more heavy metal spawned and a big pleasing step on from their introduction.

     The Offering sets the listener off on the occultish stomp of the album, strikes of drums and guitars cutting through the wash of doom'sday_devilseyesthe atmosphere casting keys. Immediately ears and imagination are led into a shadow clad mausoleum of blackened intent and demonic provocation, an evocative and expressive caress darkening the soul. Into its steady gait the track expands with strong vocals, singular and as a dual persuasion, and a sonically hued guitar enterprise ripe with acidic colour, all adding greater adventurous intrigue to the narrative. It is a magnetic start, an infectious lure setting up album and appetite impressively.

    The following Cathedral Of Lies provides a warmer enticement to its temptation, mellow vocals and harmonies almost chant like in their beckoning within the spiralling web of guitar endeavour and forcibly grabbing rhythmic frame. Like the album, it is a song easy to immerse within and feed thoughts and visions off of, haunting keys and chilled melodies the strongest bait to sculpt adventures with. Also offering an emerging throaty bass sound as appealing as the riffs and invention of the guitars, the track makes way for The Outsider. Sinister from its first breath, and certainly the initial caustic stroke of vocals, the song stalks the senses with a predatory gait and enveloping gothic keys. It constantly probes and provokes the imagination, again with dark scenery and noir lit enterprise. The best song on the album it pushes it and band to a new plateau with irresistible invention.

     The release continues to stir up the passions with firstly the title track which rattles cages with its antagonistic almost violent rhythmic agitation and flowing keys, a vault of malevolence and anguish unleashed to embrace and taunt the listener. Its bordering on insidious tempting is matched and surpassed by Watery Grave, a song which takes longer than some to seduce but emerges as another highlight. Slow in its taking of the imagination, laboured in its preying of the ears, the track is a deceptively contagious submission from the release. It seems to evolve before the ears turning from a strong emotive menace into a highly seductive consuming of heart and soul. Those earlier mentioned influences seep through across the album but equally here you feel a stronger psychedelic essence which flickers up whispers of The Doors.

    The additive lure of The Devil’s Eyes never waivers as the final trio of songs set up home in ears and thoughts. The first Lost Soul is maybe less dramatically gripping as previous songs but is rich in stimulating riffs, commanding rhythms, and expressive keys. The vocals equally impress, and across the album to be fair, like the music and invention, standing much stronger than on the band’s first album. Offering an excellent solo, the song is followed by the dark ‘hymn’ Ave Satanas, a predominantly instrumental psalm of melodic excellence and evocative ambience. It is an outstanding piece of composing and craft which is ousted and contrasted by the closing track, Crush The Cross. In quality and excitement the song is easily the equal of its predecessors but whereas the previous song was an enveloping of melodies, this is an all-out charge of harsh riffery and rhythms, an almost thrash honed blaze of sonic corruption to end things on a high.

     As stated earlier Doom’s Days’ debut pointed at a strong chance of greater things to come from the band but The Devil’s Eyes easily outshines any expectations and hopes. There is still improvement to come you feel but there is little to defuse the pleasure from and praise for the release. Doom’s Day is now a band you can confidently say is going places.

https://www.facebook.com/dooms666day

http://prcmusic.bandcamp.com/album/dooms-day-the-devils-eyes

8/10

RingMaster 26/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Def-Con-One – II

 

      Def-Con-One

    Bawling inventively in the face whilst being driven by a constant fury which simply exhausts and exhilarates the senses, II the new album from UK metallers Def-Con-One, is one of those riveting muscular scourges you just cannot get enough of. It is fair to say that the band employs well ingrained flavours and styles across its riotous body but with a flair and imagination which sets them and the release apart from most. It is a thrilling adventure which rarely leaves you wishing for more in any particular song and constantly has the emotions beaming broadly under the creative onslaught.

     Hailing from Newcastle, the quartet of vocalist Davey Meikle, guitarist Johnny Hunter, bassist Steve Miller, and drummer Antton Lant (ex- Venom and Mpire Of Evil and the brother of Venom frontman Conrad Lant) brew up a sound which merges thrash and groove metal to name just two of their rich spices, into a maelstrom of ferocious enterprise and fierce imagination. II follows the critically acclaimed Warface of 2012, a release which thrust the band into a certain hungry spotlight not found by the band’s 2008 self-released Blood Soaks the Floor, a release which has been seemingly passed over with II described as the bands second full-length. The new provocation reinforces the success of its predecessor whilst unleashing a greater maturity and invention to its striding predation. The band has been described by the organizers of renowned Bloodstock Open Air festival as ‘a bar fight between Machine Head, Slayer and Pantera’ and in many ways that still fits except that the inventiveness and tempest of styles driving the new album has increased and expanded to bounteous new depths.

   The Scarlet Records, who the band signed with before Warface, released rage instantly unleashes its full strength and animositySC 235-2 DEF-CON-ONE the moment the first full breath of H8 Ball hits the ears. Jagged riffs and thumping rhythms are soon splintering cartilage in the opener, a djent savagery riling up the senses whilst the vocals of Meikle switch between clean rock and squalling antagonism in the midst of the continually evolving sonic rabidity. By the halfway point the song has teased thoughts with essences of American Head Charge, Alice In Chains, and Meshuggah, though all merely loud winds in a storm all Def-Con-One. It is a scintillating beginning to the album which immediately slams it up another gear with Broke. An unavoidable Pantera comparison wraps the opening seconds of the song remaining across the whole of its mouthwatering stretch, grooves and rhythmic battering as contagious and magnetic as the expressive vocals and sinew parading riffs equally inciting the juices. As the track, like many on the album, rummages in thoughts and emotions you do feel you know the provocation before it spreads each moment of its narrative but are left satisfaction drenched as everything comes in a uniquely different guise to any waiting expectation.

    The following Soul Possessed is the next on the continuing ascent of the release, its opening melodic caress aligned to clean vocals an appealing but deceptive invitation refusing to hint at the ferocious tsunami of imagination and intensity to follow. The invention of the song comes with an electrified voracity, it’s twisting through straight on corrosive metal into nu and groove lit thrash vivacity irresistible. The track throughout its inventive carnage never settles into more than a few moments of any one direction resulting in a persistently intriguing rampage with imaginative flexibility in its sound and stylish enterprise.

    Both Scarred For Life and Debt To Society were destined to slip below the new plateau set by the previous song but only just miss its lip with the first a breath-taking adrenaline fired torrent of thrash and heavy metal whilst its successor wires veins of southern metal into a ravenous brawl of groove fed heavy metal . The pair feed the already greedy hunger for the album with a full meal of craft and aggressive passion whilst the next up Skinhead Shaped Dent swerves and seduces the listener with a caustic fire of grunge inspired punk aligned to a commanding web of rapacious grooves to raise the stakes. At this point the album can and does no wrong, and whilst that familiarity to other things is never far away it only enlivens the irresistible toxicity of the band’s enterprise.

     The pair of Need A Reason  and Die Again provide the first undulation in the course of the release, the first an intoxicating ear devouring stomp of contagious and at times venomously sonic rabidity whilst the second is a slow meandering slice of classically spawned metal which fails to rise to previous heights. It is to be honest a well-crafted and satisfying piece of songwriting but just does not ferment in the imagination and passions anywhere like the potency of the previous songs. That slight dip though is soon addressed by Damned Disgrace where the already carnivorous bass sound of Miller is at its most primal, and the closing Drag Me To Hell, a rhythmic agitation of pure infection and bestial riffery which leaves the senses sore and blissful. The final track concludes the album as impressively as it started; a lingering last intrusive splinter of ravaging to ignite the passions.

   To be over critical you could accuse II of not being unique enough in many ways to other bands, though there are few fusing as many facets of metal as inventively and successfully as Def-Con-One does. The truth is that when the album emerges as one of the most enjoyable favourites so far this year, certainly for us, giving the strongest fattest satisfaction, who really cares?

http://def-con-one.tripod.com/

9/10

RingMaster 16/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com