Black Aces are from Brazil and the secret to what they play is cunningly hidden in the album title…
The band know how to play their instruments and write short, bouncy songs with plenty of energy and flair. Their sound is somewhat akin to how Korn would sound if they were instrumental and had more leads. Black Aces have that same kind of bass sound and drum/bass interaction that Korn used so well on their first album.
The band show considerable talent and potential for a début, especially from such a young group.
Hopefully the future will bring bright things for them.
Verdict are a veteran German band who play Thrash Metal with some added Death Metal. The Meaning of Isolation is their fourth full-length release.
They have a crisp, professional sound that allows the Thrashy riffs to glitter and shine. The nine tracks are steeped in Germanic Thrash and are savage and immediate. Imagine Kreator given a Death Metal makeover then add in a few elements of New-School Thrash and you’ll have an idea of Verdict’s mode of attack.
Snarling vocals take the centre-stage and sound as if a caged, rabid dog has been given the microphone. These are backed up on occasion with deeper growls that reinforce the hostile nature of the band.
The drummer keeps up a good pace, but the band also know when to lock into a good groove. Killing Fantasies is a good example of this; the band has a good groovy bounce for the first minute or so before going into full-on Thrash mode for the next section.
This is a well-written Metal album that manages to capture the essence of what Thrash is about while bringing it up to date with some more modern, aggressive influences; all the time retaining authenticity and never coming across as commercial or sanitised.
Impactor are a German Thrash Metal band who have taken it upon themselves to safeguard the Germanic Thrash Metal legacy.
This is Old-School thrash in the Kreator vein, with a fine dollop of extra extremity added into the proceedings for good measure.
The songs rip, shred and pound their way through the 51 minute playing time and not a single person is left unbattered, unbruised or undazed by the Thrash attack.
Choruses and hooks abound and the last couple of decades are completely forgotten as your head involuntarily bangs itself against the nearest wall over and over again.
The vocals sound like a hysterically deranged Mille Petrozza and they rage over the spike-laden guitars with fury.
This is the fifth album from Czech Metallers Six Degrees Of Separation, and it’s a bit of a conundrum, but a good one at that.
I wouldn’t particularly call this band a Thrash band or a Power Metal band, although they certainly have been termed both. Rather I will just call them a Metal band. Quite a timeless brand of Metal also; it sounds both too modern for Old-School and too classic for New-School.
The band have forged an interesting sound for themselves. It’s not quite Thrash, but not quite Power Metal either; it’s somewhere in the middle, borrowing aspects of both genres.
The album cover is atypical of pretty much all Metal genres, which is a sign that the band don’t necessarily fit into the normal genre pigeon-holes. What I do know however, is that this is very good indeed.
This album has a strong, full production that has a good crunch to it. It’s a sound that is satisfying and more-ish; as soon as it stops playing I could quite happily play it again.
Powerful vocals dominate the proceedings; they are largely clean and rough around the edges, further muddying the separation of harsher Thrash and cleaner Power Metal standards.
Interesting guitar riffs, melodies and leads are included in every song and once again blur the lines between their Thrash and Power Metal influences. The songs are also absurdly catchy.
Six Degrees of Separation may be non-standard, but in my book that’s a very good thing. This is a great release that I can’t recommend enough, and contains some storming Metal songs.
Return To Innocence are a Czech band that play a mix of Death, Heavy/Power and Symphonic Black Metal.
After a classical intro the band burst out of the speakers with blastbeats, aggression and epic keyboard backing. The orchestral accompaniment to the songs is cinematic and heavy, but not overbearing. They symphonic effects are wielded as an extra instrument and made full use of; rather than being mere additions to the songs they are an integral part.
The singer growls and rips his way through the songs, sparing time for the occasional high-pitched shriek. That’s when he’s not putting in a characterful performance with his semi-clean vocals which lend an air of European Metal to some of the songs; Tristan’s Dream is a perfect example of this. We are also treated to operatic vocals such as the ones on Blood Related and female vocals make an appearance too. A good variety of content is important, and the vocal contributions to the album certainly deliver this.
The music is based on a solid foundation of Death Metal, supercharged with Symphonic Black Metal and then infused with a good Heavy/Power Metal influence on some of the riffs and arrangements. The songs keep things interesting and the attention doesn’t wane for the 40 minutes that the album runs.
A solid release from a long serving band who have a clear vision of what they want to achieve and the talent and skill to realise it. I suggest you give this a go as it’s well worth the listen.
The Down Troddence are from India and play an interesting blend of Thrash Metal and other influences.
The Indian scene seems to be endlessly fresh, exciting and innovative; you’re never quite sure what to expect from the multitude of different bands that are based there. The Down Troddence are a perfect example of this; based on the name and album cover I wasn’t given much clue, even the brief description that I did have didn’t really tell me much.
What we get here is groove-heavy Thrash with interesting melodies and influences from a multitude of other genres interspersed within the heaviness.
The vocals remind me of the ones that Pitchshifter used on their early releases, only raspier; they share that same strange, rhythmic, mechanistic and unusual quality that Pitchshifter used so well in the beginning. They sound robotic, inhuman and characterful all at the same time. Odd but effective.
Musically it’s well-played modern Thrash with melody, leads, solos and added effects and keyboards. As well as the odd Folk influence they also incorporate aspects of psychedelia and Industrial sounds into the songs. Taken all together this adds up to an interesting and quite varied listen that has a modern Metal core but has enough elements of older Thrash and other influences to keep things really interesting.
So, take old Pitchshifter, add a dollop of Devildriver, throw in some classic Thrash, and then mix in a pinch of Folk/Psychedelia/Industrial sounds and you have a recipe for How Are You? We Are Fine, Thank You.
Unexpected and gratefully received; this is an album full of joys and with a lot to offer. Another victory from India.
This is the second album by US Metal band Lethal Dosage.
A bowel-loosening growl starts the album and lets the listener know the band means business. This is modern ultra-aggressive Metal in the style of Lamb of God and Chimaira.
Lethal Dosage manage to avoid the pitfalls that befall most modern Metal bands of this style, (cliché breakdowns, stolen riffs, sugary clean choruses, etc.), and instead have ramped up both of the dials that say Heavy and Metal all the way to 11. Instead of the overly-saturated commercial route which many take they have instead gone for the path less travelled which essentially involves writing big heavy riffs and bellowing like a demon. Job done.
I really like the belligerence of the vocals and how they’re really only one step removed from Death Metal grunts. In fact Lethal Dosage as a whole are only one step away from a Death Metal band; there are even blast beats that make an appearance on some songs.
Another mistake they avoid is the over-used, over-sterile production job. Instead they have gone for a slightly murkier, rougher sound that fits the music well and reinforces the idea that the music is a rabid bruiser looking to pick a fight.
I know preconceptions can be misleading, but I’m pleased by how good this is; I was cynically expecting the same tired old Metalcore standards to be trotted out again, but I’m very happy to have been mistaken. Lethal Dosage have created an intense, viable and riveting modern Metal extravaganza that has me solidly in their corner cheering them on as they deliver the knockout punch. And the winner is…!
Dinner Music for the Gods are from the US and play exotic instrumental Jazzed-up Metal.
This is eclectic and worldly Metal, with all kinds of different tempos and moods throughout. The band are adept at creating special atmospheres with their music rather akin to the feeling of different types of scenes in films. One can imagine slinking through high-class society, relaxing with the upper echelons and mixing with the elite.
This 47 minute album takes you on a tour through glamour and glitz, intrigue and drama. The destinations are heady and the journey fraught with danger, but for brave entrepreneurs it’s all worth it.
This could almost be movie soundtrack music.
The guitars gallop, solos are omnipresent and the drums and bass lock everything down. The band use their musicianship to traverse multiple styles across these 8 tracks; the core is one of guitar-based Rock/Metal but this is only the starting point on an expedition that takes in such genres as World Music, Flamenco and Jazz, to name but a few. Their musical skills and know-how are beyond reproach.
This is a good album to drive to; as the scenery changes so does the music. Have a listen and let them take you to a world of ballrooms and parties.
Solitary Crusade are from Italy and play Metal that combines a few different genres into a satisfying whole.
This is somewhere between modern Cyber-Metal in the style of Devolved and Fear Factory, and Techno-Black Metal such as Neurotech and Deathstars. There is also a pleasing European Power Metal feel to some of the parts, both guitar and vocals.
A decent-length EP at 24 minutes, the band showcase what they can do in 4 songs, (plus a perfunctory intro).
This is quite catchy and ably executed; there are some well written riffs and melodies, and the keyboards/effects are used well.
I particularly enjoyed Imaginary World, as this song in particular makes a good job of mashing up the disparate influences of Cyber- , Techno- and Power Metal into a coherent whole.
Amok are from Scotland and play Old-School Thrash Metal.
It’s immediately apparent that Amok play authentic Thrash that’s unencumbered by modern strains and variants. This reminds of Anthrax and Testament from the 80’s and has the same kind of feeling about it.
Although it was released in 2013 it has a production job more reminiscent of 1983. This is not a criticism but merely an observation; it increases the impression that you’re listening to some long-lost Thrash gem from the genre’s heyday.
The songwriting follows suit too; catchy riffs fall out of the speakers like rain and guitar solos pop up over the place, which makes sense as this is based on an era when solos were plentiful, before the dark times of the 90’s where there was a worldwide shortage.
The singer does a sterling job; sounding like Joey Belladonna if he had a deeper, slightly raspier voice instead of his piercing high vocals. Admirable.
An impressive album with quality Thrash songs. Check them out for a slice of 80’s Thrash heaven.
Black Aces are from Brazil and the secret to what they play is cunningly hidden in the album title…
Wonderbox Metal 