Posts Tagged ‘Thrash’

Reabilitator - Global Degeneration

Ukrainian thrashers Reabilitator’s debut record ‘Global Degeneration’ is one of those records that just throbs with untamed teenage energy. It came out in 2012, but has seen a few rereleases through Metal Race Records in 2016. If you like old school thrash, this is for you.

Besides the Beavis and Butthead-esque album art, Reabilitator really hit the ground running here, with a rapid punky style of thrash that really kicks ass. Opener ‘Mechanical Devastation’ hits all the same points that Municipal Waste were going for, and even though we’re well past the neo-thrash revival, it shows that the style really isn’t over. The chugging start to ‘The End’ is seriously good, while the neck snapping speed of ‘New World Order’ is designed to get pits rocking. There’s rapid fire solos, headbanging gallops and vocalist Lololo has a great thrash yelp.

‘Global Degeneration’ is a strong if slightly raw debut record. Reabilitator have got the riffs and the songwriting skills, but they will definitely benefit from a thicker production. I look forward to checking out their newest record, ‘Social Programming’ too. If you like early Overkill, Sacred Reich and any of the newer old school thrashers like Municipal Waste or Gama Bomb, you’ll really like this.

https://www.facebook.com/reabilitator/

https://reabilitator.bandcamp.com/

Advertisements

Kobold - Death Parade

Serbian thrashers Kobold’s new record, ‘Death Parade’, has frankly terrible album art. But that’s a small criticism of a debut full length that has a potent energy and endless enthusiam that you wish would infect a lot of thrash bands these days. It is out now through the band’s Bandcamp page.

You get that feeling straight away with a short intro, and then the thrash kicks into gear with ‘Death Parade’. This is a record that immediately pulses with a sense of joyous excitement to be thrashing, without overly ponderous moments to kill the vibe. You are getting a hefty dose of Sacred Reich, Overkill and the like, while the speed of some of the riffing is nothing short of heroic. Thrash can become very boring without energy, and Kobold brings the energy hard. The chunky, modern Death Angel-esque ‘Fake’ is a banger, along with the savage ‘When the Eyes Turns Inward’ and the lightning fast soloing of ‘Headless Horseman’.

The only complaint really is that ‘Death Parade’ could maybe do with a little bit of judicious trimming to bring down that almost hour runtime. It feels a little long in points and could maybe lose a song or two later on. But as debut thrash records go, it is as old school as they come and that is to be applauded. Fists in the air and get fucking thrashed!

https://www.facebook.com/KoboldCrew/

https://koboldthrash.bandcamp.com/music

Infrared - Saviours

Canadian thrashers Infrared follow up their debut full length ‘No Peace’, a collection of 80s written songs but never released, with their new record, ‘Saviours’. It is a collection of classic 80s thrash worshipping songs, with more than a few nods to the NWOBHM giants who preceded that movement. It is out now.

Opener ‘Project Karma’ is instantly recognisable as a product of classic thrash through a modern filter. The Bay Area chug is in full flight, but Infrared take more of a cue from the likes of Death Angel than Metallica. Galloping and technical thrash riffs are everywhere, as are hooky choruses and a joyous execution of heavy metal thunder. But, as much of a celebration of what made 80s metal great as this is, there are plenty of cool unique moments. The measured guitarplay of ‘Saviour’, the almost balladry moments of ‘The Fallen’ and the (good) latter day Megadethisms of the stunningly good ‘All in Favour’ make a triumvirate of killer mid-album tracks.

Infrared do everything you want in a thrash album, and ‘Saviours’ tears through the competition this year for some of the finest riffs and hookiest metal songs. It’s a perfect modernisation of classic Bay Area thrash, along with plenty of heavy metal nostalgia sprinkled upon it. You’d have to be pretty miserable not to have smiles and fists raised at least a couple of times!

https://www.facebook.com/infraredmetal/

http://infraredmetal.ca/

bonehunter - children cover.jpeg

The third and possibly most anticipated album from Finland’s Bonehunter is ‘Children of the Atom’, and the collision of classic Bathory, punk and death/thrash has never been more vibrant. Due out on Hells Headbangers in September, I was a big fan of their ‘Evil Triumphs Again’ debut so this looks to be another gem.

Wrapped in awesome Joe Pentagno artwork, thrashy opener ‘Demonic Nuclear Armament’ sets the stage perfectly with its raspy mix of early Sodom and Bathory, but shot through with some cool punkish guitar parts. This is an incredibly hooky record, with every song having some part of it being really catchy. A very primal form of deaththrash, ‘The Reek of Reaper’s Scythe’ is a manic stabbing of a track, while the title track gallops like a more vicious NWOBHM heyday track. In fact, the whole thing reminds me of a more polished version of one of my favourite bands of the last few years, Hellripper.

It’s nice to get a break from all hell for leather though, the slower doomy section of ‘Black Star Carcass’ is a nice change of pace, before the blastbeats return with a vengeance, and the cool solo in ‘Spider’s Grave’ also mixes it up a little. Sure, the bread and butter is blackened deathy thrash but Bonehunter show that you can dip in and out of other genres and speeds without sacrificing intensity. Still, ‘Children of the Atom’ is at its best when barrelling forward like a runaway train, and the Motorhead-like ‘Cybernetic Vampirism’ is a perfect example of that.

Scouring the best parts of old Sodom and Bathory, cranking up the intensity and then dropping melody nukes right on top of it, ‘Children of the Atom’ is an absolutely beast of a record; monstrous and ferocious and yet insanely catchy. Why can’t everything be like this?!

https://bonehunter-finland.bandcamp.com/album/children-of-the-atom

http://www.hellsheadbangers.com/

https://www.facebook.com/bonehuntermetal/

Albumartwork-WEB.jpg

South Korean thrashers Sahon are onto their sixth full length record since their inception in the late nineties, and play a ripping form of death and black influenced thrash. ‘Chanting for the Fallen’ is their call to arms against the stereotyping of their music as well as a celebration of their Korean heritage. It is out in a couple of weeks through Transcending Obscurity. Having friends living there and being a fan of the culture myself, I am looking forward to seeing what the peninsula can do in terms of metal.

Instantly their artwork stands out as being totally different from most in the genre, and opener ‘Faith in Savagery’ has a razor edge to its galloping riffing. All the tropes of thrash are here, cool as fuck soloing, thrashy vocals and speedy riffing. What makes a great thrash album is not necessarily doing anything new, but it is doing the old stuff well. ‘At the Edge of Cliff’ is a rampant slab of early Kreator worship, with some absolutely awesome riffing patterns throughout, while the frantic ‘Survive’ is seriously speedy. ‘Chanting for the Fallen’ is not overly polished, and that rough edge really gives their songs that killer instinct, particularly in the driving Motorhead-esque beauty of ‘Born to Lose, Live to Win’ and the chaotic closer ‘You Shall Pay’

Sahon don’t need to hit you over the head with any ‘Asian’ stereotypes or instrumentation in their music, instead they hit you with pure enthusiasm and talent instead. ‘Chanting for the Fallen’ combines the best parts of Teutonic and Bay Area thrash, adds a little bit of grime and dirt and asks only that you thrash your ass off while listening. Just what any great thrash record should do, ‘daedanhi gamsahamnida‘ lads!

https://tometal.com/

https://sahon.bandcamp.com/

https://www.facebook.com/thrashsahon/

No automatic alt text available.

The rerelease of Droid’s superlative debut ‘Terrestrial Mutations’ on LP by Shadow Kingdom Records should be an event shouted from the rooftops. Originally put out last year, this will hopefully bring Droid to a bigger fanbase, as their technical thrash is a sight to behold. It is due for release early in August.

Opener ‘Amorphous Forms (Shapeless Shadows)’ gives you a little taste immediately of the kind of technical wizardry these guys can pull off. Spiralling guitar melodies wrap around some very Voivodian tones and labyrinthine riffing threatens to derail your mind at any moment. But Droid always reel you back in from the edge of technical insanity with solid songwriting underneath. It’s all very good slapping loads of riffs and notes together but if you don’t have a coherent song structure, then who cares? Droid care, and that’s why you get the hooks of ‘Cosmic Debt’, the galloping pit fodder of ‘Abandon Celestial State’ and the stunning structural intricacies of ‘Mission Drift’. It all builds an image of a band that are more concerned with getting their talents in line with their songs than just dazzling with musicianship.

‘Terrestrial Mutations’ is gloriously complexy but still capable of igniting a pit or two with their adherence to the basics of thrash. An air guitarist’s wet dream, but with beautifully written songs, Droid are staggering and this record is the proof. I love it, and you should as well.

https://shadowkingdomrecords.bandcamp.com/album/terrestrial-mutation

https://www.shadowkingdomrecords.com/

https://www.facebook.com/DroidDroidDroid/

New England death thrashers Rancorous have only recently dropped their ‘Into the Nuclear Fire’ debut on their Bandcamp page, but it is already becoming one of my more spun records this year. If you can’t spare a mere six minutes for these tracks, then frankly you’re doing too many things that aren’t important!

Holy shit does that title track rip? Rapid fire, raw as fuck blackened speed metal thrash chaos, ‘Into the Nuclear Fire’ is instant, blinding death in song form. Wild soloing punctures the rapid riffing, and ‘Death Incarnate’ continues this hellacious pace with dare I say a little dose of melody too. The rapacious speed of ‘Perverse Subvertor’ is a fitting close to a demo that is over far too quickly.

Frankly, this is a killer debut and only makes me salivate for more. Repeated spins will never lessen the enjoyment, and if anything you can notice even more. Actually, that’s not true as there is nothing subtle about Rancorous at all, and that’s probably what makes ‘Into the Nuclear Fire’ so fucking great!

https://rancorous.bandcamp.com/releases