A few days ago, Chad from Global Thrash Assault posted a write-up about Ireland thrash band ATOMINATED. I was about to simply post a link to his story on my Facebook page, but then I had second thoughts.
"Wait a minute!" I said out loud to nobody. "I shall ALSO write a kick-ass post about Atominated, and I shall call it good."
After all, an upstart band who crushes as much as Atominated does on their World Without Flesh EP deserves all the press they can get.
These guys excel at no-frills thrash f'n METAL. Short and sick tunes, each with handfuls of catchy riffs that slightly echo the gamut of the classic thrash bands of yore. The song Contagion has to be one of the most headbang-able songs I've heard in recent memory.
Sure, props must be given to guitarist David Curran for chugging out these slamming riffs, but all the members help summon success in these tunes. Drummer Nathan Quinn is the master conductor for the killer dynamics that make you want to MOSH, while bassist Toejam Hannjob (?!) keeps the rhythm tight.
Vocalist Eoin Clarke's raspy, yet powerful vocals channel classic thrash cadence, at times bringing to mind the locomotive delivery of "Brutal" Ben from Insinnerator's recent release (For example, check out Clarke's work on the majestic My New Face).
As much as I love these songs, at times they do feel a bit too short. The ending riff to the tune Atominated almost begs to dive into a well placed breakdown, causing assured mayhem in the pit (Yes, I said it. Breakdown. Kiss it, elitist groove-haters).
Thrash fans who are looking for nothing more than to satisfy that headbanging itch would do good in checking out Atominated's World Without Flesh EP. That's not a back-handed compliment at all, because sometimes we need to sit back and appreciate what a good volume-driven ass-kicking can do for the soul.
Italy's gutterpunk thrashers VIOLENTOR created a debut album that still
holds a high spot on my music-listening rotation. The self-titled album's furious
mix of distorted riffs and venomous vocals are both searingly intense
and catchy as hell.
With their second album, Violentor hits the ground running with the
title track ROT. Right away you can feel that adrenaline kick in and
be comforted that Violentor picks up right where they left us on their
debut with a high-octane punk/thrash attack. Why change up the formula
if it works so damn well?
Songs like and Free Spree and Daemonical Tutor are blistering pieces
of work that bring to mind The Exploited type of riffage - except they
take those riffs, push them down in a dirty ally, and kick them around
until they are all bruised, bloodied, and full of grit and grime. In
turn, those riffs do the same thing to the listener, like a twisted
pay-it-forward scheme.
The song Breath of Hate offers a bit more to Violentor's arsenal
with a rather slow and foreboding mid-section, offering a nice dynamic. The album closer The Last
Sentence is a slow grinder, nearly balancing out the non-stop barrage
of balls-out attitude emanating from the previous tracks.
Rot is an all-together mass of kick-ass insanity. I just love how Violentor can make ugly music a thing of beauty.
Listen to the full album below and if you're interested, pick up their CD from EBM Recordshere.
My history with INSINNERATOR, has been well documented on this blog. Long story short, with their first album Stalagmite of Ice, Insinnerator turned this critic into a big fan, stopping me from being such a puss as I embraced the Texas band as the bad-ass thrash metal machine that they are - warts and all.
Did I have a few problems with 'em? Sure, but the music overshadowed any misgivings I may have had at the time.
Now with the release of Insinnerator's new EP Hypothermia, the guys obviously did their homework on their most commonly received criticisms (vocals, production), worked on them, and created a new batch of songs that vanquish any doubts of improvement.
With Hypothermia, we find a meaner, tighter and stronger Insinnerator who took their competence in song-writing and added a ravenous bit of confidence to the mix. Gone are the occasional jagged pieces of awkward vocal timing, replaced now with a rejuvenated style of intensity. It's pure freakin' THRASH, with the crazed-yet-controlled chaos to rival early Kreator and Vio-lence. Not that Insinnerator necessarily sounds like those bands, but it's the essence of the adrenaline-pumping, wild abandon which they capture so well - as if the speed and insanity is juuuuust about to go off track, but is pulled back in to devastatingly kick-ass results.
A perfect example is the opening track Burned Alive, where bassist/vocalist "Brutal" Ben mixes a killer machine-gun delivery with the added gang shouts, weaving a commanding performance through the song's hellaciously fast riffage and explosive drumming.
Well-played dynamics offer up tasty slices of icy atmosphere, such as in the epic Elemental Ice Dragon and the sinister (although ultimately, unnecessary) instrumental Hypothermia.
Kudos must be given to guitarist/vocalist Christopher "Atomic Thrasher" and drummer Juan "Speed" who work so well together, maintaining a distinct sound that can be heard over both of Insinnerator's releases. Such is a positive for a thrash band to harness a unique sound all their own.
Needless to say, I find Hypothermia a killer EP all the way through. If Insinnerator ramped up the bad-assery this much from their first release, I can't wait to experience where they'll take it from here.
Interested? Of course you are! Visit their Facebook page here.
I've been following Electric Vengeance for a while now, enjoying their turn at churning out raw punk/thrash with humorous overtones. Those antics continue with their new EP titled Street Metal Attack.
Whether it was intended or not, the opening track Keep it Electric is a bonafide punk-feuled homage to Metallica's Kill 'Em All, complete with classic chugging riffs and Phantom Lord-ish, reverbed-out vocal attack.
Catchy and dynamic, Keep it Electric is key, along with a few choice elements found in the following three tracks, to draw more eyes toward Electric Vengeance.
In fact, the opening song almost killed the rest of the EP for me. Not that the other songs are bad, but initially the other three tracks didn't hold up to the tone set by Keep it Electric. HOWEVER…
…upon further listening, the others definitely grew on me, including the title track Street Metal Attack, highlighting an east coast flavor with a heavy dose of pure heavy metal in the solo section.
Regarding the aforementioned "choice elements", Electric Vengeance's use of traditional heavy/power metal with their punk-laden thrash gives them a killer edge over other dime-a-dozen crossover bands. Both songs Mosh With the Dead and Ouija at Witching Hour utilize this mix of styles well, never sounding forced and always knocking the song dynamics up a few notches. I love it!
Interested thrashers can hit Electric Vengeance up here.
Why the hell isn't LICH KING getting pushed by a solid record label? Surely their last two efforts earned a spot next to Evile, Diamond Plate, Gama Bomb, Bonded By Blood, etc., as far as well-written, quality thrash metal.
Even if the naysayers scoff at Lich King for being unoriginal or too goofy to be taken seriously, one would still have to admit there is an appeal to Lich King's music, whether one understands it or not.
Personally, I understand the music's appeal for me. I freakin' enjoy old-school thrash metal, and Lich King knows how to write a kick-ass song. Period.
Way back when Lich King released "Combat Mosh" as a teaser to the new album, the driving riffs and head banging dynamics had my mouth watering to hear more. That was approximately one year ago, so it's a good thing I didn't hold my breath until Born of the Bomb's release. In fact, I remember thinking what the hell was taking so long in popping that new album out…you know, since I am Mr. Impatient. I mean, Lich King offers up a couple samples to taste and an absolutely killer album cover, and they expect me to calmly wait while they seemingly stall the recording process (something I seriously doubt they did)?
Now although I was impressed with the teaser songs (which also included Wage Slave and the fantastic We Came to Conquer), I wasn't expecting anything more or anything less from the new Lich King album than a few well-written thrash tunes ranging from good to great which will occupy my car CD player for the next month or two as I drive to and from work.
Well, scratch that sh*t right now. I may not have been expecting anything more from BotB than a few well-written thrash tunes, but what I got instead is a monster of a metal album that will most certainly do more than occasionally occupy my car CD player. What I got is a full-on solid slab of hungry thrash metal that will rule in my music listening rotation for a long time to come.
From the get-go, I really dug the short, sweet, and heavy-as-hell opener All Hail. However, I freakin' knew I hit pay dirt with this album once the two following familiar songs lead into In The End, Devastation. This track is the teeth-gritting stomp and blistering thrash attack I crave in my metal. The chugging riffs actually bring to mind early Pro-Pain and vocalist Tom Martin's use of dynamics between his vocal rhythms and the music's metal onslaught is perfection.
Other highlights include Agnosticism, which at first was my only weak link on the album until the actual music of the track sunk in and completely infected me. The song's initial build-up to an incursion of stomping thrash is mirrored in pure awesomeness by the solo sections of impactful musical prowess. i.e. It's bad-ASS.
Another killer track is Axe Cop, a razor-sharp thrash smasher with a chorus fans will definitely shout while submerged within the song's insanity.
The closer, Lich King IV (Born of the Bomb) ups the dosage of brain-sick riffage and pure thrash tempos that will make even the most hardened Vio-lence fan smile.
So yes, I may have been whining about how long it took to finally hear the full album after the first teaser release, however, I have to keep in mind that top-notch takes time. What's better than top-notch thrash, right? With Born of the Bomb, Lich King stepped up the quality and created a herculean thrash metal album more than worthy of our time as fans of the genre.
So why isn't Lich King getting a well-earned push by a solid record label? I don't know, but it's their loss. Absolutely one of the best of 2012.
As a big, fat fan of their previous offering, the excellent The Formation of Damnation, the build up to the new TESTAMENT record has been rather agonizing.
When the cover to Dark Roots of Earth was unleashed upon the metal community a couple months ago, a giant "Holy Sh*t" was heard 'round the world to the sheer kick-assery of the art work, causing the drool of anticipation to bubble up in my throat and spatter out of my mouth as I yelled, "I want to hear a sample song, dammit!"
When "True American Hate" and "Native Blood" were released, respectively, to a generally well-received audience, the build-up had reached its peak for me. Although I confidently knew in my freakin' BONES that Dark Roots was going to be a near-flawless album, I couldn't help but think that the cover art and the two preview songs were too good to be true, leaving the rest to be a bit of a let down.
I guess I was simply preparing myself for the worst. What an idiot.
Fanboy praise be damned, Dark Roots of Earth is pure Testament and it completely freaking rocks. To speak of how well-crafted the songs are should be of no big surprise. The cumulative musical ideas spanning from each of the past albums created that Testament SOUND, one that is unmistakable and always welcome, and is once again utilized to create yet another classic in the band's arsenal of killer studio albums.
From the opening shout-along metal anthem Rise Up to the final scorching track Last Stand of Independence, fans are treated to the gamut of everything we love about Testament, ballads and all. Classic thrash? Melodic hooks? Death-tinged metal? Well-crafted solos? It's all in there, baby, cooked to perfection.
Stand out tracks for me include A Day in the Death and Man Kills Mankind, both which take me way back as a young fan of Testament and wondering how even more devastating the Practice What You Preach album could be with the thick, bone-shattering production found on Dark Roots.
To back up the strong songwriting is the equally strong presence behind the drum kit: Gene Hoglan. His previous venture with the Testament crew helped forge the heaviness of the band's "f*ck you!" to the watered-down 90s metal scene - the Demonic album (a polarizing offering that remains one of my all-time favorites). Hoglan's welcome return to the skins displays his brand of tight and precise driving rhythms to the melodic and brutal riffing throughout.
One element that I am definitely happy to hear in heavier use this time around is Chuck Billy's catchy vocal melodies, predominately used on past releases such as Souls of Black and The Ritual. Billy has such a knack for creating catchy vocal hooks that work so well with the underlying music, they can easily get burned into the listener's brain.
So fans, old and new, take note. Testament managed to take everything they have perfected over the course of the band's career and build upon that foundation to give us an album that is savagely hungry, effectively beautiful, and as heavy as a near-flawless metal album should be. Dark Roots of Earth is the metal album to top for 2012.
BIO-CANCER Ear Piercing Thrash
Athens Thrash Attack
It's been one helluva wait for Greece's own BIO-CANCER to release their
debut album Ear Piercing Thrash. As a big fan of their demo work, I have
been waiting with a watery mouth to sink my teeth into the new and
updated material.
At one time it appeared the album would make its way out via EBM
Records, but for whatever reason the deal must have fallen through,
sticking Ear Piercing Thrash back on the shelf for a while longer. That
sucked.
Now, through the Athens Thrash Attack label, fans of pure riff-laden extreme thrash can rejoice. If you read what I have previously written about Bio-Cancer (some of which might be repeated here), you know I am rejoicing as well!
Personally,
as a thrash fan, I'm looking for something that rocks. That's it. If a
band can write a killer song, I don't care if it's cut from a
tried-and-true formula utilized by the thrash masters of yore. Since
I have heard crappy thrash tunes that attempted to rip off the old
classics, it stands to reason that it takes a certain amount of talent
to write a good song, even if they are cloning their influences.
So although every band injects their influences in song creations,
Bio-Cancer not being the exception, I can honestly say that these guys
have forged a sound that is completely their own.
Much of this
can be attributed to the way each song successfully uses strong riff
repetition with catchy hooks and powerful dynamics. Yes, they take a
riff and ride it to death, but (again) the way they ride the riff is
what counts, and it's also what makes them stand out.
In lieu of the consistent e-string chugging used by almost every
thrash band in existence, Bio-Cancer employs cyclical sharp and frantic riffs
that sound like blistering fast versions of Sabbath's or Clutch's bluesy (yet ballsy)
guitar work. However, the Bio guys skip any semblance of bluesy emotion
as they take the riff hook, stick a piece of bloody meat on it and
throw it the middle of a school of piranha. This is the riff they ride
to death, over the hills and valleys of speedy aggression and mid-tempo
stomp.
Add in a dusting of Maiden-esque harmonies and you have an idea of how Bio-Cancer completely crushes!
Vocalist
Lefteris uses a raspy, blood-gurgling grind style that works well
with Bio-Cancer's frenzied music, combining to create a signature thrash
metal style that is both easily recognizable and devastatingly
powerful.
The new album by Liverpool's BLUDVERA is a testament to how a thrash band can offer up quality songs, keenly executed, and remain true to their own sound while flying the flag of their influences. No, they are not necessarily reinventing thrash here with Terrorform, nor do they need to, but after repeated headbanging sessions to their mix of Bay Area and Teutonic thrash, these bad-ass metal forgers create music that is unmistakably…Bludvera. And, yes, that is a good thing.
Musically, Terrorform is solid and each song is orchestrated to kick ass to the highest degree. Songs such as Powerhouse combines both technical and driving riffage with building dynamics to produce a tune of sonic fist-banging insanity. Citizen Monopoly rides the Kreator edge with harsh blistering guitar work, venomous vocals, and a galloping breakdown that is bound to cause certain mayhem in the pit.
A definite highlight is Scott Clayton's vocal work. His harsh and kinetic energy entwines throughout the music, becoming a vital instrument in the high and low dynamics of each song. Can vocals make you headbang? Weird, but true - check out Clayton's rapid fire rhythm on the title track's chorus and tell me you don't want to slam to it. Also, his use of the occasional nut-punching scream to accent certain lyrics add extra character to his delivery.
Those who think this all sounds a bit too run-of-the-mill need to drop all preconceived ideas of recycled thrash and soak in Bludvera's music. When I said "quality songs" earlier, the term goes beyond just well played music, but also encompasses memorable riffs and the mark of a band who love what they do.
To get Terrorform, go here and then keep up with Bludvera here.
Tantara's self-released EP Human Mutation set the stage for a promising young metal band who know the art of well-crafted thrash metal tunes. The EP garnered Tantara an underground swell of well-deserved support from all over the world. After all, Human Mutation was a damn good EP, causing many fans to wonder where the immediate future would take the band.
When word got out that legendary music producer Flemming Rasmussen was tapped to handle their debut album Based on Evil, the fan base gave an overwhelming positive response. However, to have such a famous name tied to the band's debut album comes with expectations on their delivery: They either bring it or they bite off more than they can chew.
Well, if Human Mutation was a welcome kick in the ass, then Based on Evil is a full-on neck breaking body slam. Any worries that Tantara might drop the ball on their highly anticipated debut will cast aside all doubt after the opening title track begins with a short slow grind before driving into a full thrashing assault.
It's mind boggling how good this album is, because beyond the killer galloping riffs, the ripping vocals, and attention-grabbing dynamics, there is a distinct hunger emanating from the band that sharpens each track to a dangerous and gut-passionate edge. It's not something you can fake, and with all the excitement, sweat, blood, and devotion Tantara has for thrash metal, Based on Evil is as real as it gets.
There are many highlights, including the mid-paced, pissed-off bad-assery of Mass Murder, and Prejudice of Violence which includes a chorus of gang vocals that brings to mind its usage on Vio-Lence'sEternal Nightmare album. In fact, the gang vocals peppered throughout all of Based on Evil are horns-up metal as hell!
As a natural balance to the blistering madness, Tantara ties in acoustical parts that flow in and out of select songs, adding a haunting tranquility that rings of caution instead of happiness. The beginning of Killing of Mother Earth is an alluring homage to early Testament, complete with Skolnick-esque soloing that blends seamlessly with the underlying music. Along these same lines, the symphonic ending to Prejudice of Violence is absolutely stunning.
There are a lot of bands that put out good, solid albums, but there are fewer that are able to bare their fangs while putting forth music that sounds so well-crafted and purposeful. Based on Evil is an important album for the new wave of thrash, as it demonstrates that the genre is far from dead in the water.
Check out the album single Trapped in Bodies below and then follow them on Facebook here.
It's been over a week since my last post, so I am combining the Thrashline post with the Weekend Breakdown post. Below, you'll get your fill of both news bits and killer new bands you may not yet have heard.
So let's gear up for this week's
• Scotland's DISPOSABLE have a killer 3-song EP titled The Disposable EP available as a free download here. Some of you may be thinking, "Who?" Well, now that you know the name and where you can snatch up their tunes, check out Disposable's brand of galloping, neck-thrashing METAL! No matter what you think of these guys, there is no way you can't move when they kick into their mid-tempo chug-a-thons. Quality stuff here, my friends. For freaking' FREE!!
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• Australian metal men 4ARM have signed a world-wide record deal with RISING RECORDS! I'm excited to see that 4ARM's music will be easily accessible to those outside of their country. Also, I'm hoping that such a deal will result in a U.S. tour (HA! It's always about me, isn't it?).
Anyway, check out their band profile on the Rising Records website! Nice! ------------------------------
• Let's keep our feet firmly planted in Australia for another moment. Sydney's thrash metallers HEAD IN A JAR have recently released their 4 song EP titled Atomic Circus. The album is pure aggressive fun, and damn, it sounds good! One of my favorites is Judge Mental with its rolling riffage that could make a dead man move. Give it a listen below, buy their Atomic Circus on iTunes, and then hit them up on Facebook.
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• It's been a long road, but now California's INVECTION will finally be releasing their debut album on Nov 15th through Stormspell Records. Get a taste of Facet of Aberration with the song sample below. Yes, it kicks ass. Infinity.
• LICH KING released a video of Mr. Rob recording a solo for for the song Agnosticism which should be on their upcoming album Born of the Bomb. His finger styling appear as Rob may have an old-school Dexterity stat of at least 17. Since he plays in Lich King, he has a Constitution of 18 and Charisma of…I dunno…8?
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• Sweden's PARANORM have offered up their new six-song album titled Pandemonium's Rise as a FREE download. Paranorm play straight-forward thrash with hints of progressive elements, traditional metal, and melody to mix with the harsh vocals. Killer! Listen below and check them out here.
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• RedMist Destruction is on the verge of unleashing their new album Nobility in Death onto the public, and I have been lucky enough to hear it. Nobility is a killer album full of punchy, memorable riffs, gruff vocals, and dynamic song structures. RedMist Destruction plays thrash that truly embraces its raw punk roots, blending crossover with a crushing, and at times melodic, modern thrash stomp.
The musicianship is in top form, with parts of each song containing what are essentially mini-epics of dynamic valleys and peaks. Nobility in Death is an album that towers high in its achievements of catchy aggression, speed, twisting riffs, melody, and hard galloping crunch. RedMist Destruction recorded one hell of a metal album.
Stay tuned, because you'll want to pick this one up. ----------------------------------
• HELLsingborg troublemakers SIX IN LINE have a new song streaming titled Plata o Plomo. As with the past 6iL tunes, this one rocks just as hard, if not more. I have stated in the past that their tunes bring to mind a thrashier version of the band Scissorfight, and Plata o Plomo is no exception. This is not to say that 6iL are mired down as a knock-off band by any means. Similarities to possible influences be damned, because these guys definitely rock with their own sound. It's punk influenced grime thrash with mid-tempo punch, and the crazy off-kilter riffs make 6iL tunes kick that much more ass.
By the way - for some reason, every time I listen to Plata o Plomo, the gang vocals at the 31 second mark always manage to scare the living sh*t out of me. I swear I jump every time.
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• Speaking of punk-infused gutter thrash (and I mean that in the highest regard), our friends in SPEEDBOOZER have posted a couple more new songs. These tunes are raw as hell, but just try not to slam around to the thrash 'n' roll riffage of the tune Metal Punk. Hell, yeah! This tune was built for the live show, man! Crude, rude and completely unwashed - I love this stuff!
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• Here's a quick plug for all you old-school death metal fans. Give Wittier, CA's own SKELETAL REMAINS a look. Good, heavy tunes and a vocalist that reminds me of a cross between John Tardy and Rodney Dunsmore of Devastation. Killer!
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• Another young band out of California is VENGENCE. These guys jam out aggressively evil thrash. Vengence hammer out some thunderous riffs, all wrapped around some stellar songwriting. Check out their tunes below and then hit them up on Facebook here.
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• What's this? VINDICATOR released a new demo track! Is it everything you've been wait for? Of course! Hit play below and thrash it up!
It took me a while to pop out this review of the new EVILE album, but I did not want to be hasty in my write-up. If I'm not going to be at least a tiny bit fair, then I shouldn't post my thoughts about…well, anything I guess.
The reason I say this is because I am not a dyed-in-the-wool fan of Evile's first album. When I first bought Enter the Grave, my interest in the music went up and down, and ultimately it left my CD rotation rather quickly. I just couldn't get into it.
My feelings toward the first album naturally influenced my decision into not buying the second album (Infected Nations). I heard a few tracks online, but I just wasn't interested.
Now, here comes Five Serpent's Teeth, the third album from Evile. Cutting through my settled-in prejudices of how I think I will feel about the music, I listened.
I will cut right to the chase and say that I now have a rejuvenated spirit regarding Enter the Grave and I am eager to hear Infected Nations. Why the sudden change of heart?
Well, that's the thing. It wasn't a "sudden" change of heart. Remembering my first spin of Five Serpent's Teeth, I had no change at all. "Same ol' Evile," I thought.
On further spins, the riffs began to sink in, bringing to mind hints of Justice area Metallica. After that, the partition I built after putting aside the first album came tumbling down and I began to embrace Five Serpent's Teeth as the killer metal album that it is.
What really got the ball rolling for me was the song Cult, which is the first video Evile filmed for this album. The song was a good choice for them to highlight because it's one of the best on the album - a mid-tempo stomper with catchy as hell riffs to match the memorable chorus.
Five Serpent's Teeth is high caliber metal, complete with killer riffage and well constructed solos that add layers of brilliance to each song. Yes, Evile write what are essentially love letters to the thrash titans of yore, but the end result is undeniably Evile in sound and execution.
So what changed in the style that made me see the light? Stylistically, not much. The production is a little too slick for its own good, but a distinct lack of rawness cannot take away from Evile's musical prowess. So, really, I can't put my finger on my new found love for this band except that even quality music can take a while to sink in.
After stumbling upon Finland's UNHOPED on the ever reliable Reverbnation web site, I have been keeping them in the corner of my eye. I was originally impressed by their brutally harsh brand of thrash and gave them a positive write-up here. I couldn't wait for their new full length release!
Finally, Unhoped unleashed their new album Die Harder, and it packs even more of a punch than I had anticipated.
The opening track Entering a World of Pain is a short and slow riff laden instrumental that uncoils like a snake about to unleash a furious strike. That strike hits with the next track Shattered Shield, injecting a bite of venomous metal that continues to rage until the album's final track.
The riffs and song structures bring to mind early Grave peppered with Slayer. Even the production hints at early Swedish death metal without the sludge. In fact, the production is impressive, gathering the killer tight riffing, spot-on drums, and lethal vocals into slabs of hard-pounding murderous metal.
Unhoped writes songs that range from all-out thrash to headbanging groove, put together with riffs that both shred and hook into your brain. With tunes such as the catchy Art of War (Written in Blood) as well as the harsh and mosh-worthy Consumed, fans of aggressive metal will find something to grab onto within Unhoped's roster of solid metal tracks.
Check Unhoped out on their Facebook page here. To purchase a copy of Die Harder, go here.
A few Diamond Plate fans are up in arms about what they heard on a couple sneak peeks tracks of the bands upcoming album Generation Why?. Complaints lit up the forums about the vocals sounding too metalcore (?) as well as the sound of the music taking a similar direction.
After listening to the new album, I can say that some of the expressed fears of the band's direction are realized as there is a decidedly "core" influence on some of the tracks. Songs such as Tomb with a View seem to have more in common with Earth Crisis than Slayer or Exodus.
However, if you are taking away that this review is a Diamond Plate bash-fest, you are mistaken. Killer bad-ass metal is still killer bad ass metal no matter what bits and pieces are added, and Diamond Plate drives that point home with Generation Why?.
At its heart, Generation Why? is a thrash record. Riff-heavy goliath songs such as Waste of Life and Empire Tomorrow are galloping shreds of savagery. In fact, the latter song alone is worth buying the album, because those looking for thrash metal played with passion and precision, Empire Tomorrow is destined to become a classic.
Generation Why? is a damn good metal album. Those who are into classic, undiluted thrash metal might feel the need to stay away, but I wouldn't recommend doing so. Speaking as a thrash fan, Diamond Plate's musical prowess, killer riffs and success in writing quality metal music should overstep the pride of a thrash purist.
Does that mean that every song on the album has to be your particular cup of tea? No, but the ones that are will kick your ass hard.
Typically, with crossover thrash, one can think of old school punk-infused groups such as D.R.I. and Cryptic Slaughter, or newer bands such as Municipal Waste, In Defence, and Blunt Force Trauma. With these and other bands similar to their specific styles, some may tip closer to punk, some may mix more metal, and some will go straight-up hardcore.
However, in the case with SSS, as demonstrated on their most recent album Problems to the Answer, the scales tip every which way, from full-on punk, to hardcore, grind, and thrash metal. One song may be pure to one of these genres while the next may incorporate them all seamlessly, without stumbling or feeling disjointed, proving that SSS are the very definition of modern crossover.
For over 40 pummeling minutes, SSS tears through short and sweet numbers such as Birdshit and Laughing Leads to Crying. Just before the music risks stumbling into repetition of blazing beats and swift barks, SSS hits us with "longer" cuts such as the headbanging Eat Me Burn Me Drink Me, which main riff sounds like a killer 90s Napalm Death breakdown.
Those looking for a bit more riffage in their crossover can find monster and catchy guitar work in songs such as Tales Out of School and Dismantle the Dream.
To use a variety of genres and manage to give them a unified sound is SSS's best accomplishment as well as a testament to their abilities in writing a brand of heavy music that utilizes each of them to make Problems to the Answer a success.
Many critics have hailed albums such as Warbringer'sWaking into Nightmares and Havok'sTime is Up as masterpieces of modern thrash. I would dare to say that Lost in Violence, the full-length debut from Denmark's Essence, also ranks among the best in the NWOTM.
Lost In Violence is fantastic on so many levels, in both a traditional sense and modern twist to the thrash genre, that reaching out to pick apart why this album rocks so freaking hard is a quite the undertaking.
First of all, for those who cry for more originality in their thrash would be hard pressed to find a better example than the songs found on Lost in Violence. Such a statement may be disputed, but although they reflect various thrash influences such as Slayer, Kreator, and early Metallica, Essence manages to build on their influences rather than simply mimic them.
Special note must be made of Skov's vocal delivery and its dynamics with the guitar riffs. The way he builds up the verses and choruses to allow each riff maximum impact is not only impressive, but also displays a necessary trait from which many thrash bands could learn.
As for the riffs, they crunch along powerfully, tying together with a stand-out performance from Nefer on bass guitar.
The songs are epic pieces of songwriting consisting of (mostly) mid-paced, headbanging thrash that demand repeated listens. From the thrashed-out Pestilence, to the foot-stomping Blood Culture, to the sweeping and catchy Shades of Black, Essence has created what will be considered a staple album within the circles of thrash metal.
Although I have heard of the band Impalers, I had not heard a note of their music until recently.
Such an oversight was my mistake, and since I am always on the lookout for killer new thrash bands (of course), I should have at least clicked on Impalers' MySpace page. Right?
I get lazy, okay?
So, as I burned through a recently obtained promo copy of Impalers new demo release titled A Necessary Evil, I let out an audible "Hell, yeah!"
Galloping riffs, tight drums and well-orchestrated solos are abundant, highlighted by a clear and professional recording. Not that a professional sounding recording is the be-all end-all (because even a turd can be served on a silver platter), but these guys can THRASH, and when it sound this good, then it's all the better.
Although Impalers well-oiled teutonic-inspired thrash seems to keep the foot firmly on the pedal, with only the occasional mid-tempo riff to allow you to exhale, the listener is offered enough dynamics to keep the music fresh.
One aspect that keeps Impalers music a step above the rest is the use of the guitar solos. During the solo section, most bands use the standard main riff under a barrage of speed pick wankery. While that is all fine and dandy in some cases, it's good to hear a solo integrated into the music to blend with the peaks and valleys of a song's dynamics - not unlike what Megadeth or even Cellador does.
The four songs on A Necessary Evil go by fast and furious, offering a taste of brutality that makes it easy to click the replay button.
Since I have been slacking on my posts lately, I thought I would kill a bunch of birds with one stone and list a few bands that have caught my ear one way or another.
First we have Vermillion Days from Greece. These death/thrashers began in 2007, playing various favorite cover tunes while crafting their own originals. Those original tunes came together as Vermillion Days' first self-financed EP titled In the Warfield.
In the Warfield has a classic death/thrash sound reminiscent of early Sepultura.
You can check out their YouTube channel here, and after, go "like" them on their Facebook page here.
Next we have Betrayer FTM from Columbia. This stuff is extreme thrash with a raw punk feel. I say punk "feel" because it's not 100% crossover, but it has a killer raw quality that gravitates the songs toward the genre. The tune Midnight Poison might be the best example of this with the guttural vocals and thrash rock riffage. Awesome!
The cover art to their album No Life Till Fury is disturbing and sick, sticking out as a good reference to the flavor of music hammered out by Betrayer FTM.
Next is a promising band from Buffalo NY called New World Horror. I mentioned them in a previous post here. These young thrashers (ages between 17 and 19) decided to form a band only one year ago (March 2010), and have been working to get themselves on the music map.
N.W.H. is already making headway by opening for some of the NWOTM heavyweights such as Gama Bomb and Bonded By Blood. Although their demo is not perfect (for example, the vocals are a bit patchy on the more melodic "singing" parts, and the dynamics in their breakdown riffs simply are not there) but it still has some pit worthy moments.
The musicianship is excellent. Their song Vipers sticks out as their best with a pummeling opening that leads into vocal patterns which bring old Nuclear Assault to mind.
These guys are still young in their musical journey with N.W.H., and I'm more than curious to see how they will develop into a well-oiled thrash machine. As far as they have come within a year, New World Horror's next effort has the potential to destroy. I'll be watching.
