Methedras are from Italy and play Modern Thrash Metal. This is their fourth album.
A state-of-the-art heavy and crisp sound blares out of the speakers accompanied by a maniacal laugh and enough modern Thrash sensibilities to crush an elephant, (poor elephant). Methedras waste no time in preparing their mission statement and declaring it boldly.
This is Modern Thrash Metal and it’s ready to riot. Essentially the band mix elements of modern bands such as Lamb of God, Soilwork and Byzantine, Thrash bands like Annihilator and Testament and a touch of Death Metal to create an aggressively heavy album that pulls no punches. Think Testament’s Low updated for 2014.
The vocals are suitably extreme, combining screams and shouts with some deeper growling, as well as the odd melodic semi-cleaner chorus. The singer manages to achieve this with no small amount of charisma as well. Well done that man!
The songs are mature, well written and overall the album as a whole feels very comprehensive. The combination of aggressively Metal riffs and harsh vocals make for a good listening experience. With memorable choruses and hooks aplenty this is a fine collection of songs that I can imagine going down a storm live.
System Subversion is modern Metal without any of the commercial pandering or posturing that is so prevalent in today’s music. It’s modern with a heavier angle and a proper appreciation for Metal – it doesn’t let the side down.
Feed the Ego is Algebra’s second album and a veritable delight for all fans of the harsher, darker side of Thrash Metal. Tony and Phil from the band filled me in with some insights into what makes them tick…
What are your influences?
Tony: So many things ! Regarding the effort put in Algebra I listen to a lot of not-so-easy-listening thrash, for example Forbidden’s “Distortion” record, “Time Does Not Heal” by Dark Angel or some Forced Entry. Personally, regarding my style of drumming, it’s quite easy to name: Lombardo, Hoglan, Benante and as a bonus I always put a Lars Ulrich drum fill in every record… it’s up to you to find it.
Phil: I think that every band that I intensely listen to inspires me, whether it’s conscious or not. I started listening to thrash and then thrash and then some more thrash. I think my first influences are Megadeth, Forbidden, Testament, etc. As time went along, I started listening to more and more extreme metal. And slowly some death metal parts started to appear in my songwriting.
What are you listening to at the moment that you would like to recommend?
Tony: Right now while I’m answering your interview, I’m updating my Accept compilation, which is a band I really love. Besides that, I really recommend Misery Index’s latest album “The Killing Gods” to any listener of extreme metal.
Phil: Not really new bands. I listen to a lot of bands like Dawn and God Dethroned right now
What were/are your aims with Feed the Ego?
Tony: To give the listener a real album, not just one or two songs that stand out, but a progression. Of course, it’s not a concept album, but you can listen to it in its entirety without being too disorientated. The lyrics, for us, are globally as important as the music, they also need a certain degree of coherence.
Phil: To make the best Swiss thrash record since Polymorph hahaha. I set multiple goals for this album. The first is a musical one. I think that after Polymorph, everything had to be redone regarding songwriting and searching for new ideas etc. I find it to be a difficult moment because you easily say to yourself: “damn, how will I find new ideas”. But slowly it all comes naturally and the songs started to spawn and then all your fears disappear. The second goal was to give the new album more exposure than Polymorph. When you do things DIY-style, your exposure tends to be quickly limited. We were lucky enough to have contact with Eric from UnspeakableAxe who offered us to release our next album.
Are you happy with how it turned out?
Tony: I’m the happiest guy on this damn earth. I’ve been fighting ever since the first time I sat down behind the drumkit and played songs from Kill Em All to make an album of this quality, even if it’s not related to Kill Em All. Right now, when listening to my own album, I can objectively say: Damn, this is not bad!
Phil: Oooohh yeeeeeesss. First off, I’m very happy with how the CD turned out, at all levels. Whether it’s the playing, the lyrics or the production. Furthermore, our expectations were fulfilled, like I said, by the fact that UnspeakableAxe released our record. The communication and exposure is already y so much bigger than it was for Polymorph, thanks to their job.
How do you feel about the recording/production of the album?
Tony: We are more than satisfied with the job Andy Classen did in only 4 days on our first record “Polymorph”. Because of that, we worked with him again and are very happy about it. The sound remains very natural compared to a lot of modern productions, and that was our main goal. Furthermore, having played with Holy Moses, he very easily understands our examples and comments.
Phil: I’m really happy with the way the album sounds. We all worked really hard for it to be as clean as tight and right as possible. Some songs needed more hours of work than others and at many times we were on the verge of kicking us in the nutsack but globally speaking, everything sounds like we wanted it to sound. Because we like our sound to be as natural as possible, we once again recruited Andy Classen, who already worked on Polymorph. His job is even better this time.
What can you tell us about the lyrics?
Tony: The lyrics are strong and in accordance with my opinions and thoughts. I will never talk about something I don’t believe in or that has no interest. I like to study human relationships, the current state of the world, and many other subjects. It seems like it’s too well thought of for thrash, but I’m not so sure of that!
Give us a bit of information on the songwriting process.
Tony: Two words: Guitar Pro (version 3.0. haha). It’s actually very easy for us to write songs. Phil and myself are the biggest input of raw ideas. After that, I sit down and think about not putting 52 riffs per song, but to develop a single idea in many different ways. And that’s what’s funny in Algebra’s music, many people here think that we spend a thousand hours to arrange our songs, but in general, the same idea will be used for the main riff, the arpeggios, the clean bits, etc… It’s a question of arranging and that makes all the difference when you listen to it, believe me.
Overall you work in the heavier/darker side of Thrash Metal I’d say – was this a conscious decision or something that developed naturally?
Tony: Both. Like everybody, we started by playing Slayer and Sepultura covers among many others, but it didn’t totally complete all of our wishes and ambitions, albeit the genius of these bands and the undeniable contribution to metal music, they lack of musical elements that we keep close to our hearts. Slayer, for example, did it really well on a record like “Divine Intervention”, with a wide range of riffs, vocals, great arrangements, without losing the aggressive and fast side that defines Slayer. I listen to a lot of things with great care, Voivod, Coroner, Pestilence, Atheist, thus when I write songs, I want to add as much variation in the music as possible.
Phil: I’d say that’s something that developed itself through time. Regarding myself, I don’t write songs saying to myself “ah shit, this needs to sound more evil”. I roll with sensations in music and it’s that part that I like the most. When I write songs, I will not propose something that doesn’t touch me, even if the riff is cool.
Your song My Shelf is a little different to the rest of the album – it works really well and adds a bit of variety. Tell us about this song.
Tony: Simple (as usual): Reviews. We listen carefully to positive and negative reviews that listeners make about our music, that’s what allows us to move forward. I can very well recall the day when I read the next comment, on Youtube I believe: “Never slow down and never play ballads, it’s for pussies.” That’s when I was forced to show that we also like that and that it can rightfully be put on a thrash record. For example, Testament’s ballads are musical pearls that shouldn’t be ignored.
How do you see your position in the wider Thrash Metal musical framework/genre?
Tony: I’m really happy we can spread albums on a worldwide scale like we did with “Polymorph” and now thanks to UnspeakableAxe Records, this is going beyond our expectations. We reach a lot of listeners that are very demanding and genuine connoisseurs, that are satisfied with our records. And I won’t hide to you that not reaching the 15-year-old thrash revival fans isn’t important to us, because that style doesn’t affect us, we think it’s empty, musically speaking, and redundant.
Phil: We’re not that bad at all hahaha. All jokes aside, I think it’s hard to find your place in a scene satiated with “revival” bands that nag all the people that like real thrash. I believe that thrash isn’t just about having Ed Repka artwork, tight pants and Converse Weapons.
How do you see your songs/direction developing in the future?
Tony: We are going to continue in the same direction by keeping ultra solid foundations of old school thrash while adding all the other musical elements that influence us.
Phil: Regarding myself, I never know which direction I’m taking whenever I write new riffs or new song ideas. But I think that over time, I’d like to have songs with more complicated structures. Having more technical songs will come naturally with time but I don’t want to leave the “in your face” side.
What’s next for Algebra?
Tony: Gigs! Gigs! Gigs! We really love to play live and to share our music with fans and listeners.
Phil: Since the departure of our vocalist/guitarist, the main priority is to find new members. A lot of work is ahead for us!
Achren are from Scotland and play Black Metal. This is their latest EP.
This is Black Metal with a healthy melodic side and a hard, Thrash edge to some of the riffs.
The vocals are mainly high pitched screeches designed to strip paint and puncture ear drums. These are joined by the occasional deeper growl that sounds quite fearsome. The vocal rhythms used are in sync with the music and are much more catchy than a lot bands playing this style. This is especially noticeable in The Eschatologist.
The White Death has a good recording and everything sounds in-your-face, much like the band themselves.
The melodic Black Metal romps along at a fair pace with the Thrashier riffs adding some groove. The songs are well-written and the band clearly know what they’re doing. The melodies are memorable and there are some very good tunes here.
The more you listen to this the more you realise that these songs are very, very good indeed and this is a very, very talented band. There’s nothing especially new or original here, (the same can be said of almost every band), but their talent and skill shows in the songs themselves – these are just incredibly strong songs.
At only 3 tracks in 15 minutes this EP provides a decent intro to the band whilst also leaving you hungry for more.
Catchy, memorable and with a good degree of bite; this is a great EP.
Favourite Track: The Eschatologist. What a brilliant song. Can’t say better than that.
This is the fourth album from US band Pretty Little Flower who play Grindcore.
This is savage Grind mixed with a bit of Old-School Death Metal and Punk/Thrash influences to some of the riffs.
The vocals are deliciously deep and guttural. A real pleasure to listen to. Total cookie monster vocals but they’re deeply satisfying growls that hit the spot nonetheless. There are also occasional high rasps but these are of the average variety.
There’s plenty of blasting and band seem quite content with keeping things fast, nasty and angry. Fine with me.
The nature of the riffs and the deep growls remind me of certain aspects of early Brutal Truth, which is probably why I found myself warming to this album so quickly.
The songs, as one would expect, are short and to the point, with most hovering about the 1:30-2:00 mark. This means they have enough time to build up a good head of steam before the relentless blasting and Grinding comes to an end.
The sound is fine and the drums in particular have a pleasing analogue sound to them.
This is for fans of simple, stripped-back-to-the-bone Grindcore that takes no prisoners and doesn’t even vaguely understand the concept of mercy.
Untimely Demise are a Canadian Thrash Metal band and this is their second album.
Straight from the go we’re into high octane Thrash territory with solos shredding and drums clanging. Technical riffing and rasped vocals lead the way while the rest of the music rips things up.
Musically this is Thrash Metal with a Megadeth/Testament/Death/Arch Enemy flavour. Extremely competent and played with feeling, Untimely Demise show from the off that they have talent.
The singer mainly uses a harsh rasp, but also uses some rougher semi-cleans that shows he’s capable of depth. It adds texture to the impressive playing of the rest of the band. A cross between Death and Arch Enemy, it fits the music well.
The band avoid the issues of the over-saturated Retro-Thrash scene by just being themselves and adding some harsher/technical/more European elements to their sound. It’s honest, direct and more worthwhile than 100 Retro bands trying to recapture old glories without any real feeling. Untimely Demise have come to show them how it should be done; a nod to the past, a spotlight on the present and a battle-plan for the future.
This is the début album of Thrash Metal band Villainy who are from the Netherlands.
Villainy have a raw and savage sound that’s rough around the edges but not lacking in ability. They can play, and there are plenty of solos streaking out of the sharpened Thrash like lightning.
The band have a slight Blackened twinge to their sound akin to bands like Audiopain, as well as a bit of a Crust influence as well. These attributes raise the band up above the general throng of Thrash bands that saturate the scene at the moment and make them a more enjoyable prospect.
They’re also not completely predictable, which is a welcome change. For example; after two tracks in the aforementioned style, both under 3 minutes in length, track 3 is 7 minutes long and is more of a Doom-laden Celtic Frost-esque song. It’s a good change of pace and a good song overall.
This is another reason why this album is better than the average – the band don’t rest on their laurels and they also inject variety into proceedings. It keeps things interesting and makes the whole album come together.
This is a quality Metal album that doesn’t suffer from boredom after repeated spins. Check out Villainy and join their underground world.
This is the début album from Greek Thrash Metallers P.T.O.M.A.
This is riff-based Thrash with sharp, spiky guitars and a proper Old-School feel.
The vocals are loose and authentic with gang vocals backing the singer up. The entire thing sounds like it could be some long lost recording by an obscure Thrash band that has just been unearthed.
The recording itself is good and the band have a satisfying sound. The drums are nice and heavy, the guitars sound solid and the bass is surprisingly audible and runs through all of the tracks like a centre line.
The majority of the subject matter is distinctly non-serious, but that doesn’t stop the music from being composed better than I was expecting. There are some good solos too.
If you’re in the mood for some non-serious Thrashing around then you can do a lot worse than this album. Give P.T.O.M.A. a listen and see what you think.
Shards of Humanity are a US Death Metal band. This is their début album.
The band play their Death Metal with a nod to Death and a Thrash Metal edge.
The songs are capable of following a good riff to see where it goes and giving it the time to develop and breathe. This sometimes lends the band a pseudo-Progressive edge, (again, akin to Death), and makes their songs all the more enjoyable for it.
For the most part Shards of Humanity’s songs are fast, precise and technically proficient, although they have an ear for a slower riff when the song calls for it.
They give me the impression that these songs have undergone a lot of changes in their history; not due to poor songwriting but due to natural development as there is an exploratory feeling to them.
The tracks feel like they would have been lovingly followed through to their logical conclusions by the band who would have wanted to see where they went to and what would become of them.
Solos are played well and the performance levels all around are good.
The recording is raw and sharp, recalling the Old-School but with more bite.
The vocals are savage, rough barks that are more than capable of competing with the music.
Overall, an enjoyable release. You could do a lot worse than look up this band.
Algebra play Thrash Metal and are from Switzerland. This is their second album.
The music is complex and delivered by the band with a tight performance. Musically it’s an exciting cross between Slayer and early Sepultura. For all the popularity of these two giants not many Thrash bands seem to play styles reminiscent of them today, so this is a refreshing listen in this sense.
Vocally the singer spends the majority of his time legibly shouting over the top of the heavily aggressive Thrash. A cleaner style appears on occasion and these vocals are individual enough to enhance the songs rather than detract from them.
The songs Thrash their way through their playing time with a strong sound and furious drumming. Each track is played well and Thrash Metal is rarely executed as heavily as this. Solos are shredded and riffs are assaulted; this is a very satisfying listen.
Unexpectedly for a band who take their influences from the heavier side of Thrash Metal; the track My Shelf turns out to be somewhat of a ballad in the Testament/Metallica style. It shows a willingness on the side of the band to inject variety into the album, and overall I like it.
Algebra have produced a thoroughly enjoyable album that takes from the heavier and darker side of 80’s Thrash, the side that a lot of bands forget. Algebra remember, and they want you to as well. Pick up Feed the Ego and remember how good it feels.
This is the début album of Ecocide, a Thrash-influenced Death Metal band from the Netherlands.
After a very sci-fi intro the band start with a sprawling, heavy, mid-paced riff that showcases the fact that they have a nicely heavy sound and know what to do with it.
Old-School Thrash and Death Metal meet with a familiar feel and a welcome crash.
The singer has a very rough cookie-monster voice that sounds great set against the raging guitars. He reminds of the singer of Bolt Thrower, which is also a feeling given off by some of the music.
The band show good songwriting and use some memorable riffs during the running time of the album. They seem to have a clear vision of what they want to achieve; they know how to accomplish it and have the tools and skills necessary to do this. The result is Eye of Wicked Sight and very enjoyable it is.
Ignoring the intro there are only 7 songs here so the band make use of every second available to them to create crushing Death Metal. It’s a really good début that sticks in the mind after the last riff has faded.
If the band keep this level of quality up they’ll have a bright future indeed. Check out Ecocide. Do it now.
Methedras are from Italy and play Modern Thrash Metal. This is their fourth album.
Wonderbox Metal 