Seemingly out of left-field, the latest Evile album hit the scenes just over a year ago, and it took me until about now to finally conjure up some thoughts. Its lack of hype caused it to catch me offguard, and the strange makeup in general made the band's sixth outing The Unknown sit differently with me than probably any prior album. While they've always been a staple thrash metal act in my rotation, 2021's re-launching of the band with Hell Unleashed left me disappointed. Thus, my hopes for its follow-up weren't exactly high.
With that said, I do think The Unknown is a slight step forward. The prior album suffered from the generic thrash tropes that make many a modern band feel like throwaway "dime-a-dozen" acts, so I was glad to see things take a different direction here. Nearly half of the record is far more somber, feeling like "Tomb" off of 2013's Skull was an entire album with a different vocalist. Slower riff chugs and baritone vocal lines crawl all over this side, raking in stronger bass presence in a non-threatening way. Then, the back half seemingly "wakes up" and returns to a far more thrash metal oriented sound, looking back towards the band's older days for direction.
Unfortunately, two problems plague this otherwise interesting idea. For one, the inconsistency is just a little too jarring, and feels awkward between the two sides. Secondly, much of both ends contain too many songs that either drag on longer than they needed to, or lack memorability. It should be unsurprising that the shorter, more direct tunes are the few exceptions for me. "Out Of Sight" kicks in beautifully, delivering a thrash blow that the band hasn't landed for me in over a decade, while "Sleepless Eyes" just before that seems to have the opposite effect. The latter lets out emotion that I couldn't find in any of the other earlier tracks, despite that being what I think the band was going for.
Otherwise, it becomes a game of "I can groove with this" vs. "this bores the shit out of me." The vocal melodies over harder passages in the likes of "Beginning Of The End" are fun, and the dreary atmosphere of "The Mask We Wear" are notable, but I can't say they really do much for me in the long run. Evile are essentially an entirely different band than what they were from 2004-2013, and while I can appreciate what they're doing to an extent, I struggle to jive with either of the past two records. It isn't likely I'll return to either again for a long time.
Back in 2017, I was quite fast to hop on the Power Trip hype-train with the release of their incredible record titled Nightmare Logic (should you stumble upon my review from back then, be nice to me!). It wouldn't be long before I'd go back and discover that the Texas thrash act had already broken some ground several years prior. Manifest Decimation these days feels a little overlooked because of how massive their follow-up was, but I do find it to have some charm of its own, and evidently I'm not alone in this assertion. While not too far removed from what would come, I'd still say it satisfies the same craving.
By that, I mean it's still a harsh and punishing thrash metal record with extra attitude, harder punches, and a dash of crossover. What separates things here is that the debut taps into a deeper layer of rips and cuts, with the production coating a little more echo at the expense of some clarity. This is all fine though, as its burred edges allow for an ever harsher feeling when swallowed, giving it that aforementioned charm. The delivery itself also feels a bit more pissed off, fueling the machine with mightier feelings of anger. That would pair well with the fact that the record is named after one of the harshest historical blows to a society by colonizers, at least on our side of the globe.
The only complaint one might have is that this opens less space for standout numbers, something that its successor would specialize in, however if we aren't comparing this to what's to come, I really see no issue. In exchange, this feels as consistent as it ever could, and the songs never let up. Notable moments aren't non-existent, however. "Conditioned To Death" is arguably their most powerful tune, swinging in with slower chugs before breaking the chaotic speeds and unlovable vocal blasts in with such a menacing aura; something about the bouncy chorus chugs and echoed backing vocals feels so brash! "Heretic's Fork" has one of the sharpest solos on the entire album, while "Crossbreaker" slows down the tempo for a rhythmic rumble and bass-heavy ride. For such a quick ride, I'd say this is more than enough anyway.
A seasoned listener knows this by now, but the moral here is never let the brighter gem outshine another gem. The raw fury with a muscular delivery and strong ear for hooks found in these 34 minutes is an incredible feat, and I couldn't recommend this enough. Power Trip only got two full lengths to their name in before the late Riley Gale met his tragic end in 2020 (Rest In Peace). While I may be ever-so-slightly partial to the second album, Manifest Decimation is undoubtedly a force to be reckoned with.
Mmm, the endless pit of "the album cover and name alone caught my interest." Pneuma Hagion actually grabbed my attention back in 2020 when it was first released, but like many others of its type, at the time it was just a little too extreme for my tastes. I'd later pick it up in part of a sale that the label did with several other splendid releases, being one I revisit from time to time, but always struggled with how I feel. Well, Voidgazer is finally getting the deeper look. The band's name is Greek for "Holy Spirit," but don't go into this expecting a helping of Greek black metal, because it's stylistically far from that (and, they're from Texas).
Instead, Voidgazer is oddly one of the cleanest delves into the blackened death metal realm that I've ever come across. From end to end you're served a small helping of unrelenting drum blasts, coarse and abrasive death growls that have a blackened hint from time to time, and chunky riffs that wouldn't feel out of place on a more recent Morbid Angel album. What's daunting is just how polished this feels, as all the instrumentation is jarringly clean, with each part sticking out and not being overshadowed or overshadowing anything else. Hell, even the vocals feel far too concise for the effort at hand.
Typically, that would irritate me, and I'd dismiss this into the "generic" pile. It may help that the album doesn't even touch the half-hour mark, allowing things to make their impressions without overstaying their welcome, but I find myself enjoying this every time I come back to it. The shifts from tremolo to death metal chug, the layering allowing the focus to move to something different within the songs, and the general delivery are all part of a pleasant experience. Aesthetically, the only real complaint is that some of the guitar tones have way too much of a deathcore-oriented chug to them, especially in the breakdown on "Timeless Darkness."
While it sounds like I'm basically praising the hell out of the Pneuma Hagion debut, it's very much lacking in the realm of having any standout moments alone. In a way, I almost have to call it "accidently good," because as I've said, the overall experience is a fun one. But if the record wasn't so short, and if the construction alone didn't feel so unique, would I be saying the same thing? Ultimately it takes me back to what I was saying at the start; I'm still not entirely sure about my exact feelings, but if nothing else, you can be assured I'll continue returning to it. Worth hearing for any black/death fans.
Several years after releasing one of the many albums that carried me through the hopeless year that was 2020, Freeways would come back to show that they weren't a once-and-done act. The Canadians' debut grounded them as a band that tampers within the line that is heavy metal and classic rock influence, with a cool identity that avoids anything too heavy. Dark Sky Sanctuary more or less takes on this exact same path, and some might argue that it's a little more metal oriented. After all, it's Metal Archives acceptable now, so it has to be, right?
Well, sort of. For starters, I wouldn't say that this disc got any heavier than what we had prior. The rhythms take on the same tone, slapping on similar scales in the minor keys, riffs themselves seem to still linger in that '70s-esque shape, and you really can't more cleanly produce what was already squeaky clean. The main change that I've found here is that the pacing feels a bit faster at times. Overall, it doesn't really boost the mood, however it certainly stands out in songs like "Give 'Em The Gears" that kick up the bass rumbles backed with a harder drum kick and overall aggressive delivery. For the most part, though, a lot of this energy is channeled into solos that bring forth a sharper edge on top of otherwise fairly steady rhythm sections. See "Can't Deny Destiny" or "Travelling Heart" for a whiff of what I mean.
Being yet another brief disc, I found this to be extremely digestible, however it may take a few listens to find what's truly unique outside of some songs being a tad more aggressive. From time to time the bass actually takes more precedence than the guitar, likely tying in with it having a heavier rumble in some tunes. Moreover, certain psychedelic elements seem a little more obvious, once again likely having to do with that fuzzy bass, as well as the wandering lead guitars that seem to go up in priority when paired with the galloping sections. Otherwise, I wouldn't expect anything too out of the ordinary.
This leaves Dark Sky Sanctuary feeling like a simple part-two of what has come prior. Make no mistake, this is certainly still packed with catchy choruses and a comforting aura, loading in harmonies one after another to compliment strong melodies. But when you open the gates with such a masterful debut like Freeways' first outing, it may be tough to leap forward from there. This is absolutely still worth picking up, considering its foundation comes from something super strong.
Several years back, during the dark depths of quarantine and unemployment, much of my time was consumed with taking in anything new I possibly could to occupy an idle mind. Of course, that meant hearing a bunch of junk, but Freeways was a band that was anything but; the cover art alone intrigued me. The Canadian quartet's first record titled True Bearings managed to capture something I'll call a cold atmosphere that feels warm inside. So no, this isn't going to be anything harsh or unforgiving.
Quite the opposite! While tunes that feel like they breath hope or anything uplifting are pretty void, the songs are still extremely digestible and comforting. For a majority of this, minor scales and bleak passages pair with strong melody, concise singing, and bouncy rhythms. Riff-wise, it could feel right in place next to your favorite late '60s or '70s rock 'n roll act as well as well as the earlier NWOBHM projects that made the tube amps nice and hot. The end result is a soothing yet melancholic ride that's fitting for a fall evening, perhaps driving through the country.
With that in mind, the best tunes on True Bearings tend to swim back and forth between the scale tones while slapping on a heavier dose of catchiness. "Dead Air" is my personal favorite, weaving in memorable licks and steady execution that slowly turns to a damper atmosphere for the chorus. Blues influence certainly makes its way into this in one form or another, heavily evident on the slower trudge of "Time Is No Excuse" without getting too heavy. Groovy chops are no stranger to the band either, evident immediately in opener "Eternal Light, Eternal Night," and the intro on "Battered & Bruised" lays that on heavily. The latter is another favorite, highlighting the bass-driven bottom, tampering with more metal oriented playing while still containing one of the sleekest and cleanest chorus executions on the disc. The addition of an acoustic guitar was also a nice touch.
Freeways are a fun little outfit, and they're unique in the way they fit the rock 'n roll and heavy metal sound while simultaneously feeling like neither. Sometimes its lighter than a feather, other times bluesy riffs break into a tough bottom. Most importantly, the songwriting itself is top-notch and I can't say anything ever felt awkward. For how short this is, they really crammed a lot into a little.
Amidst the explosion of what we'd come to know and love as thrash metal, it wouldn't take long for it to fall into clearly different paths, with different regions specializing in certain ones as one would expect. We don't need a full lesson on why some went the melodic route, some the gritty and raw route, and some the dark and harsh route. What we do need to acknowledge is that while Slayer quickly fell into a groove that fit with the Bay Area at the time, Show No Mercy and what it achieves specifically has yet to be replicated, even by themselves. I'm writing this over forty years following its release, and I still fail to find something that captures the feelings of the California act's debut record.
The obvious answer is that they're probably the closest any thrash metal band ever came to replicating the Di'Anno era Iron Maiden records with a meaner tone, heavier distortion, and evil overcast barely three years following Iron Maiden. But it takes a little more than obvious influence to run with something of this caliber. Show No Mercy with its impeccable drum tones that break through the darkest channels of the album, with Tom Araya's menacing screams that boast more lung strength than any death metal vocalist could dream of, with its screeching leads that carry us to something unique every time, brings together the aforementioned NWOBHM genius and songwriting and forges a record that collectively feels like a journey through Hell, war, and torture under one of the most evil umbrella's I've ever gotten in music (sorry for the paragraph-long sentence). Making something so blistering and soul-crushing while managing to feel poetic, mature, and structured is a rare feature of its own, but I say again, it has yet to be matched in this regard.
As one might expect, Slayer has a couple different approaches of laying this in front of us while still give everything its own identity. The most obvious might be the direct attacks with a speed metal backbone in mind through the whole run of a song. Probably the record's most well known track, "Black Magic" is the best way to exemplify this, running on the exact same breakneck pace the entire duration, sneaking in wails and delivering a brutal punch with otherwise monotoned vocals and classic metal shrieks. Opener "Evil Has No Boundaries" rolls things off the same way, but with an arguably more hoarse vocal attack, shoving it in our faces in the front before letting Hannemen and King finish us off with multiple solos. To the opposite end, the closing title track lets Lombardo take the forefront, showcasing his beautiful kicks for a hot second to remind us what's present for the entire disc anyway. We could even lump "Fight To Death" and "Die By The Sword in here, but more intricate rhythms are favored here without dropping any of the speed, and I love that for them!
Another approach is taking the dark and evil feelings to the top and letting the lyrics deliver more of the blows than the music itself. "The Antichrist" has to be one of the most evil songs I know, not only with the lyrics but with the extreme conviction in which Tom delivers them, capping it with that "eternally my soul will rot!" which still gives me goosebumps to this day. "Metal Storm/Face The Slayer" will scratch a similar itch, but it's unique in that it does it in two parts, one built on that speed metal front we discussed, while the other cocks-and-loads that horrific Satanic narrative with poetic and concise lyrics that trap the listener themselves into that pentagram. Sometimes that's all it takes; powerful stuff delivered in a way that feels less threatening on paper due to calmer speeds and more digestible progression, but is even meaner in its narrative.
Such musical patterns show brightest on "Crionics," mostly because I think this tune is a blatant nod to the early Iron Maiden records. Its riff structure strips it of everything else I've described, almost feeling melodic yet casting tones dark enough to fit with the rest. The singing is also at its cleanest here. "Tormentor" fits the bill as well, utilizing an almost catchy chorus along with bouncy leads that paint a wonderful portrait of being stalked and captured by something mortifying right off of the night-time streets. Again, I can't stress enough how Tom's never-again-matched delivery plays such an important role. There's not a single bad song to be had, and while I'd probably give "The Final Command" the title of Show No Mercy's worst tune, it's still incredible and sits nicely in place. A faster tune in the mix of the calmer ones that's just as pleasing as the others, it only has a little less to speak on.
It's fun giving endless praise to an album from time to time. Slayer would go forth and create another handful of legendary albums beside their Big 4 counterparts, but they'd never do this again, and neither would anybody. Classic thrash clones exist all over the globe, some good, some not, but none have reached what this one reaches even four decades following. Slayer would soon become easy to meme, despite my soft spot for their music, but not here. Perfect, unique, unsettling, youthful, evil, mature, poetic, catchy, threatening, mean, and gritty are some of many words I would use to sum this up, and it's amazing how some contradict each other but work so swimmingly, painting pictures and scenes in my head I can almost step into. Show No Mercy is an untouchable, unfuckwithable record, right next to Rust In Peace, Among The Living, and The Years Of Decay without having an identity anything like those, outside of simply being thrash metal.
Some thrash metal albums of the early days had that "this has never been properly reproduced" element, which is usually a good thing, as the energy can only be derived, not matched. There are more than enough Kreator clones out there, but I don't think I've come across a single band that has nailed the sound of their first two records in modern light the way Desolus does. Understandably, it does beg the question of "why would I listen to something so similar when I could just listen to the thing itself?" Fair, but I think it's fun when a new generation can match something so nicely while feeling refreshing within the scene.
System Shock is the first full-length, despite the band being active for around five years. At its core, this is German-inspired thrash with the dial turned up to the max. However you'll find tactics that wouldn't be common in the style until later every now and then, such as more punk-oriented riff breaks. To pair with this is also a mild hint of slightly easier-to-digest patterns, all garnished with the classic metal shrieks that aren't afraid to step away from the harsh rasp. I wouldn't go so far as calling any of it melodic, however, just a little less chaotic.
Those tiny treats are what help break up an otherwise one-sided attack. It also helps that the band are good at smoothly swapping between different beats and atmospheres, feeling jarring yet fitting in the likes of "Curse Of The Technomancer." Overall, the tones really bake in the feeling of terror that tends to come with apocalyptic themes involving destruction and monstrous beings. Even tremolos make their way into the likes of "The Arrival (Of Evil)" with the rare presence of some of the bass.
It's likely also true that System Shock only works because of its fairly brief run-time. At the end of the day, Desolus haven't done anything new here. What they have done, however, is nailed down a very specific influence nicely, and managed to make it feel like more than a simple clone. Thus, fans of this specific style will probably love this, otherwise it may just seem like "another one." I happen to be grouped with the former.
