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

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Portal – For All That is Damned to Vanish

portal band_pic studio

    The release of a new album after thirteen years from Swedish death metallers Portal might not mean a great deal to those like us only now discovering a band which emerged in 1996, but on the strength and quality of For All That is Damned to Vanish, to their fans it must be quite an exciting occasion. Without tearing down trees in originality, the Vic Records released blaze comes with a captivating body and accomplished deportment which hits all the right spots for a melodic death metal adventure. Spicily varied and with a ravenous intensity to intimidate and enthral, the nine track fury is a definite must check out proposition.

    Portal first made an acclaimed mark with debut album Forthcoming in 2001, which itself followed the decently received demo The Prophet three years earlier. Since that album it has been simply quiet from the band, certainly on the recordings front until now. Consisting of vocalist/guitarist Kristian Kaunissaar, guitarist Stefan Johansson, bassist Emil Koverot (Blodsrit, ex-Carve), and drummer Matthias Fiebig (Blodsrit, Bloodgut, ex-Carve, Mordenial, ex-Paganizer, ex-Ribspreader, ex-Zombified), the Västervik / Stockholm based quartet look to re-ignite earlier awareness and enthusiasm for them with For All That is Damned to Vanish, something the album will easily achieve and more you suspect.

     As soon as the drums barbarously pound voraciously on the ears as riffs and an instantly infectious groove lays its grip on the portal front_coverimagination for the opening of In the Steps of Forgotten Gods, you can feel a rich temptation brewing. It is an enticement soon realised as the intensity increases to ebb and flow around the sonic endeavour veining the track. The hoarse grizzled delivery of Kaunissaar adds to the causticity just as eagerly as that which is gnawing away alongside the infectious melodies and grooves, his vocals aided by the backing of Johansson to great effect especially in the rarer clean moments. Every aspect of the track combines for an incendiary torrent of inventive adventure and technical skill which ok is not setting new boundaries but easily ignites ears and passions which is just as preferable.

   The strong start is soon reinforced and pushed by The Grand Gesture, a track rippling with muscular contempt and sonic creativity within a grazing squall of sound and passion. Again a seductive groove makes an irresistible temptation into the merciless tempest leaving an awakened appetite greedier, its hunger soon fed with the same potency and appeal by On Far Trails and The Wild and the Furious. The first of the pair uncages a torrent of acerbic riffing and vicious rhythms whilst vocally a fusion of guttural spite and clean harmonies keep things intriguing and unpredictable, baiting the imagination as enjoyably as the maze of sonic and melodic enterprise spiralling around its brawl. Its successor is seeded in the same maelstrom though with a slightly more laboured and deliberate gait within a violently offensive and thrilling barrage from Fiebig. Employing evocative textures and caresses within its savagery, the song its predecessor feed the ears and emotions with healthy slabs of metallic brutality wrapped in sonic fascination.

    As In Chase for the Sun enters on a similar charge and flavouring to the previous track there is a similarity which pervades the album provoking a need to focus all that more to pick out the individual traits and treats each song offers but it is not as much a defect than a distraction in the flow of things even after numerous encounters. The track itself like the following A Marschmans Belief nevertheless provides a thoroughly satisfying and magnetic experience to endorse the album over.

    The Celebration of My Fall brings a less intensive offensive, its slower provocative entrance a canvas for further impressive guitar invention and craft whilst bass and drums stalk the senses as a mutual incitement to the vocal predation which again comes in a flavoursome array of styles to match the sound. The slow burner of a track which increases its lure and contagion the more it graces the ears, is surpassed by Kamp, a rampaging scourge of a song armed with a horde of rhythms and a riot of riffery to fall giants and crush walls. As every other song, the track twists and fights around its core intent without losing control of its purpose and magnetism to leave another strongly pleasing scar on the psyche.

    For All That Is Damned to Vanish closes with the very decent instrumental Curse of the Fifth Crown. It is a fine end to a powerful and admirable release full of fascinating exploits and skilled adventure. As stated earlier the release will not have you singing from the rooftops but neither will restraint in appreciation and pleasure be a frequent part of reactions you suspect. With a touch of Amon Amarth about it, quite simply the album and Portal provides a refreshing addition to melodic death metal history, a more than worthy reason to check it out.

https://www.facebook.com/portalswe

8/10

Ringmaster 28/02/2014

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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.

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8.5/10

RingMaster 10/10/2013

 

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