I’m always more than happy to get Ruined by Krieg. First encounter at the beginning of the century with the likes of ‘Black Church’ EP and ‘Destruction Ritual’ were certainly harrowing and I have followed studio output since then as founding member and singer Neill Jameson has led a various and ever changing cast-list through further sonic devastation to the current incarnation of the band. Whilst various splits, EP’s and compilations have appeared it has actually been a long time since last full-length album ‘Transient’ was released way back in 2014. Those who have followed Jameson as both a musical and life commentator on social media probably understand reasons for the downtime due to life never exactly being a box of chocolates for him and although good things have happened his wry observations often leave you not knowing whether to laugh or cringe at all the shit that’s flung his way. Thankfully though there has been no shortage of excellent albums from guitarist Alex Poole via his ever-expanding project list to keep us entertained, among them Chaos Moon, Häxanu, Ringarë & Skáphe. The other three members see a returning drummer and new guitarist and bassist to the fold and the result is ‘Ruiner’ and even some live shows for the first time in ages.
No cover songs this time round but a very intriguing set of eight titles which with ‘Red Rooms’ and ‘No Gardens Grow Here’ I was set up for what I thought might be an endurance test in much the same way as an underground Japanese splatter movie. I’m not sure of any significance behind them and there is no deciphering Jameson’s vile throat-retching into anything resembling lyrics but the inner narrative along with the artwork here is a mystery which leaves me pondering. ‘Bulwark’ rolls in embedded on a battering drumming salvo and the first of those horrendous elongated gargles but underneath there is magnificence found by somewhat pessimistic and bleak melody lines. There’s plenty of these creating identity over the course of the album and at times they are even uplifting. Wait till the first almost post-punk gleaming shift into things hits and you will probably find yourself entranced like a deer caught in the headlights. Make no mistake as it hurtles back along with bracing and bruising rhythms, roadkill is the only inevitability. ‘Fragments Of Nothing’ obviously suggests utter nihilism but even here things are not as bleak and uncompromising as one may expect. One thing noticed here and on the last track is the upping of some string tones in the mix giving them real definition. The twang hits hard but adopting this just for a couple of instances means its effective rather than overplayed. You can’t help noticing the spring in the steps of the bouncing punk-like occasionally utilised either. ‘Red Rooms’ has a grim and nasty vibe about it with slow crawling passages tinged with dread and revolting vocal screeches. Not much light here that’s for sure and again I reflect on the torturous tones and anguish of the once seen, never forgotten Japanese fake snuff film of the title. ‘Solitary, A Future Renounced’ by comparison is rabid and full of rage, going like the clappers and proffering not a shred of mercy. If it were not for the excellent production values this may well be as primitive and brutal a number as on the band’s earliest assaults.
‘Manifested Ritual Horror’ is like stumbling into a horrifying room in the group’s earlier ‘Black House’ but that bounce comes in again and it just leaves you wanting to pogo up and down on the spot and dodge missiles thrown at you by an otherwise malignant poltergeist. ‘No Gardens Grow Here’ has an absolutely fantastic melody line running through it before expanding with barraging drums and strangulating guitar weaves. You can catch the Cabin In Woods, Begotten, Antichrist (as far as I’m concerned) video for it below. With ‘An Execution In The Night’ being a 3-minute throat tearing execution ritual we arrive at the end and ‘The Lantern And The Key’ perhaps a little quicker than I would have liked, the 40-minute album having flown by. As far as the last one is concerned check out the length of the throat vomit at the beginning and a track with plenty of maturity, poise and grace about it before you are left in a trance and find yourself quickly wanting to start at the beginning for the first of many repeat plays. A welcome return and a great album here from Krieg, I’m giving it a few days’ downtime for now but rest assured as soon as the pre-ordered CD turns up I’ll be getting ruined all over again.
(8.5/10 Pete Woods)
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