Harking back to the days of classic old school thrash, Archangel A.D. are a new breed of the true metal generation. Always placing their own spin on the thrash sound they honour, their music evolves into a modern representation of the darkest recesses of that same sound. Hitting the stores via CD on January 11th, 2019, ‘Warband’ is now available digitally. As a self release, this early in their careers, ‘Warband’ proves that thrash is still alive and well.
Blightning – Brutal, frenetic and deliciously evil intro. A thrash force to be reckoned with is immediately obvious. It’s dark thrash, with less melody, but more sinister omen. The rapid pace never lets up, in a style much allied with Metallica, Megadeth, et al. A definite edge to the vocals injects a Cooper-esque horror angle, while the tone and momentum creates gothic visuals to match. Instant, memorable and affecting.
Enter The Temple – Gradual build-up to this intro, in the vein of entering a tunnel of darkness. Great twiddly riffs, a real concentrated freshness and fear factor to the atmospherics. Spaced out, ominous drum beats, echoing slight strains of Sabbath’s ‘Black Sabbath’, in their evocations. This is take no prisoners, stormy, ominous thrash.
Evil Dreams – Big, booming, powerful intro, with the strength to floor you and crunch you into the ground. A level of omen worthy of black masses. We’re heading into Venom territory. In saying that, there is more melody here, even if it’s the kind depicting flesh creeping terror. Terror inducing summarises this well and it’s wonderfully visual. There’s a surprising catch about it and it leaves a powerful imprint.
Metal Horde – Opening on a few fast-paced cymbal hits and a drum roll echoing the pace of Hendrix’s ‘Fire’. Great anthemic shouts and a full on thrash flavour, with all the speed to prove it. Imagine an even heavier ‘Whiplash’ and you’re there. Like being willingly trapped on a heavy-metal merry-go-round and spun round incessantly faster, with hard edged thrash playing, at full volume. Metallically delightful.
Unto The Evil – Speed’s the name of the game, with this intro. Axe slinging to beat the best. Edging towards Viking metal territory, with heavily powered atmospherics to go with it. Energised, raw and peeling back the layers of skin, to reveal the steel laden flesh underneath. That closing choking sound may be a tad gory, but there’s no denying it adds to the effects. As does the evil laugh following it. 100% metal.
Warband – Very ‘Snowblind’-esque intro! Even heavier, in some respects and moving, fluidly, right into full-strength gothic horror. This is indeed the new generation of classic thrash metal and it’s a delight to hear it. The drums beat powerfully and consistently and the riffs sing over the top, while the vocals inject their poisonous flavour and the pace increases, as the finale hits. Tastefully venomous, you could definitely call these guys the modern school of classic thrash.
Overall – A new breed of thrashers have hit the scene. Darkly delicious and every bit, the real deal, Archangel A.D. are at the top of their game and have hit the ground running. ‘Warband’ is testament to that. All imitators may now step aside, because Archangel A.D. are a thrash sensation, with enough evil for the entire scene. ‘Warband’ is the apex and the lifeblood of dark thrash.
10/10 **********
For fans of Black Sabbath, Venom, Exodus, Megadeth, Metallica, Pantera, Sebening Ebum.
Following a 5 year hiatus, Pterodactyl Problems are back! The Toronto 4 piece are now pleased to present their new album, ‘Esoteric Hobbies’. Combining various genres, including indie, heavy rock, blues, jazz, punk and heavy metal, the resultant sound contains grooves and thematically, the songs are balanced and resonant, reflecting both the positive and the challenging elements of life, including those raised by living with and around severe mental illness. There’s also an acoustic aspect to the tracks, demonstrating the gentler side of the music. Modest by default, the band’s reverential outlook towards their beginnings belies the self-assurance and meaning with which they convey and perform their music. Having played sold-out shows already, PP have become renowned for the spirit of their live gigs and are set to convert many.
Paresthesia – Wow! That’s quite some intro! Booming impact. Heavy, doom infused drums. Good strong beat. Vocally, a bit too winsome and indie based for my own tastes, but some very decent riff work and a confident powerful bass line. It’s immediately obvious where they’re coming from with the varied influences and it’s a solid enough production, but the sound just doesn’t do it for me.
Protest – This intro’s a bit more like it. Short spoken (well, okay, sworn) section, with a livelier, yet gentler accompaniment following. It does rock up slightly, but it’s more of an alternative sound, combining shades of blues, folk, indie, alt and heavier rock. Still not moved by it, but there’s still time yet.
Alone In The Cold – Now we’re getting there! Much more rocky, vibrant drum intro, faster paced and increasingly colourful. Lots of punky melody, though the attitude’s unconvincing. Still a good effort. Very Green Day-esque, with a slight Stipe-esque REM echo. It’s a cheerful little track, all in all and it’ll do. The energy’s there, even if it’s a tad ‘Teenage Dirtbag’-esque and teeny-bop-ish.
Crazy – Again, there’s that sense of populism. Becoming increasingly Green Day-esque and aged. It is upbeat and it is energetic, with plenty of pizzazz and even a little touch of tremolo, which always goes down well, but it’s just a bit much at once, really. A lot’s being crammed in together and it’s erratic and unfocused.
Heavy – Opening with a very melodic, well performed acoustic, reflecting a skill for jazz and blues. This is better, more focused and brings out where the true potential lives. There’s something to be said for stripping things down to the bare bones of a specific sound and homing in on it. This is a perfect example. It’s a really listenable, relaxed, enjoyable song.
Constellations – Another acoustic intro, with a deeper tone and a sentimental vocal. Quieter, bringing out the power of the bass especially, gradually increasing the instrumental volume. A sadness comes forward through the vocals, conveying the emotional depth of the lyrics. Ending on a harsh, strong drum beat, there’s a great deal of resonance within it.
Lush Lives – Right back up again the tone goes). Moving instantly into a far more upbeat and hopeful mood. The pace is faster, the lyrics stronger, the accompaniments a lot rockier. This is much more like it. Just a rocked up melody, with an energised kick. Like it a lot.
Heroes Killers – Booming drum intro’s, with some great riffing, incorporating a nice bit of wah wah. Straight away, it gets into the rocky stride, adding in a hint of psychedelia. It works. A slightly heavier slant to this one. Some very powerful drum work and an equally consistent melody. Uplifting and effortless.
Breathe – A slower, but pleasantly 60’s sound to this intro, showcasing acoustic and electric talents. It’s actually quite beautiful. A slight Weller-esque echo to the vocals and overall sound, it gathers strength and blues effect well. Evocative of a great blues bar, this has got plausibility and conviction written right through it. I didn’t want it to end. Standout track.
Exhale – Similar sound to ‘Breathe’, the acoustic ability’s really coming to light now. A pure instrumental, so brief, it’s more of an encore/add-on to the last, but just as beautiful and loaded with emotion.
Down The River – Beginning in a similar fashion again, now, there’s a duet of twinned voices, making the song shine. Something about this sound just builds on itself, getting better and better with every note and creating a memorable emotional connection. Such a strong, striking beat, exemplified gorgeously, by that outstanding drum finale.
Slideshow – Now the mood changes direction again, to a more poignant, contemplative tone, but interwoven with greater assurance. Lots of emotive guitar work here. A very thoughtful track. A slower number, filled with pathos and profundity. Crooned with absolute passion.
Pictures – Another deep one. Introing a brief piano section, at the outset, followed by a different guitar now, for some of the slide sections. That voice and the lyrics hold so much raw, honest emotion, brilliantly and bravely conveyed. Growing stronger and louder, towards its end, ‘Pictures’ really does evoke that sense of culmination and consolidation of everything preceding it. Almost too powerful for words.
Overall – I’m very pleased to say my conclusion of ‘Esoteric Hobbies’ ends better than it started. I’m awarding 2 separate star ratings, for different sections of the album, in addition to an overall score, in this case, in the interests of balance and recognition of the album’s full strengths, as the latter half, IMO, deserves a much better rating than the former. The essential issue with the first 4 tracks, IMHO, is in trying to be all things to all people. Simply too much going on at once, thereby, obscuring its focus and clarity. Tracks 5 onwards, however, are a different deal entirely. 5-13 are where Pterodactyl Problems’ areas of skill and speciality really come to life. The level of emotional depth and meaning conveyed through those is quite frankly, breathtakingly mind blowing. So as they compose the majority of the album, it seems only fair to acknowledge that. So in this exceptional case, I’ll award star ratings accordingly.
A thrash band from North Colorado, Draghoria are a 5 piece metal machine, with a line-up to stun and a sound to destroy. Boasting members from Sault, One Eyed Doll and ex-members of Arcanium, Internal Bleeding and Mandrake, Draghoria are poised for global attack. With 2 EP’s under their belts so far, their heightened aggression should soon secure them the high-profile attention they seek. ‘Thrash A.D.’ is their current release.
Dethroned – Straight in there, with a full-scale, searing thrash attack! Sharpened, razor edged vocals, with a blackened undertone. As blistering as promised, the accompaniments keep it heavy enough to do it justice. Tantamount to face shredding, via cheese grater. Thrash energy lives and breathes.
Taste Of The Serpent – Banging intro, heavy as hell and just as hot. Vocal acuity resembling Gollum, on speed, whilst the Prince of Darkness (the real one, not Ozzy), materialises behind you and scares the life out of you, with pure satanic intent. Proper hard house, thunderous drumming and some great melodic riffage gets a chance to shine. Moving from jagged intensity, to feel good metal melody, the vocals show their potential for song-craft. Fiery excitement smokes from its flames.
Thrash A.D. – An even heavier blast of metal hits you in the face. This is full on thrash, with the energy to prove it. A mosher’s paradise. Grinding your ear drums and blasting your senses, with total thrash intent, it’s a monster of metallic madness, rolling towards you and crushing you, under its weight.
Overall – ‘Thrash A.D.’ is a mutinous monster of mayhem and carnage. Eating your face and spitting it out. It works and it thrashes hard. Nothing more to say.
Presenting ‘Panoptical’, Days Of Jupiter’s 4th album, released October 26th, 2018.
Swallow – Gentle, but sinister intro, via an eerie riff and whisper, then exploding into life, with aggressively melodic vocals. Great catchy beat. Keeps the momentum flowing well. A highly capable steady stream of quality metal plays out till the end. This has got that crunch to it, in the vein of Kyrbgrinder, Boltthrower and the likes. Line Of Fire fans will dig this too.
We All Die Young – Standout single. Ace in and out sensation intro’s, before bursting into metallic flames of passion. This is just so catchily, classically melodic, it’s easier to get carried away by it than to analyse it. Something very Gun-esque about it’s sound just hits the spot, time and again. Riffs, vocals, grit, melody and heavy drum beats. What more could you want?
I Am Fuel – Tasty easy loose intro. Rhythmic, laid-back and slightly bluesy, in a mid-paced arrangement. Still, those yummy gravelly vocals give it that sexy signature. Delicious. Perfect for relaxing into and discarding all your cares.
Why – Heavy, forceful intro, with even more of a Kyrbgrinder-esque edge. Confident performance, pulling you in, like a magnet. Absolutely top-notch material here, with a sensual attraction. Impossibly catchy and impressively passionate closing lyrics, shouted with utter conviction.
Panoptical – Banging intro, bringing the drums to the forefront and lining them up with the edgy, hardened riffs. Again, the catch just reels you in. A slightly more thought-provoking angle to this one, but it never detracts from the melodic hooks, for a moment. Growing heavier and heavier, like a concrete boulder being rolled towards you, to the end. Superb. Ideal title track.
Black Hole – Opening on a much more sombre note now, beautifully acoustically performed, in a style verging on flamenco. Poignantly palpable lyrics, so emotionally performed. Such beauty and purity in those melting, fret bending riffs. Safe to say, versatility card wins, hands down and is well placed here. A briefer, but fulsome track, loaded with feeling.
Sons Of War – Brilliantly fluid flow of movement echoes through this intro. A sensitive and gradually hardening opening, following up nicely from ‘Black Hole’. A joyful heaviness characterises this melody and still, there are short, contemplative moments, adding more to the mood. Rocking up the aggression, towards the end, then closing with that same sensation of in and out movement through the speakers, creating a perfect end.
The End Will Begin Again – Majorly heavy drum and riff intro, giving way to deep, thoughtful vocals. A real physicality to the drums, whilst still demonstrating an ability to parallel simultaneous profundity of meaning, both lyrically and instrumentally. More of a food for thought strand to this, though still no less heavy or involving.
Edge Of Everything – Gorgeous intro, you could sink into, like a warm, relaxing bath, at the end of a hard day. That takes nothing from the ensuing heaviness, though. It’s still as strong as ever and every bit as magnetic. A darker thread may have entered, but it only adds to their metallic presence. Pure charisma. Slightly shorter track, but a booming drum hit ends, completing its message.
Shallow Side – Opening slowly, with a sombre piano section, accompanied by soul penetrating riffs and even more vocal grit. Here, the emotion really comes across. Blowing it up, into a heavily involving chorus, conveying such sincerity through the verses. Those beautifully soulful riffs will reach into your heart and imprison you. Almost too beautiful for words.
Nine Tons Of Lies – Bang! The only way to describe that hammering intro). Moving right into an addictively catchy heavy chorus, taking you straight to metal heaven. Hard, pumping, pounding sounds, guaranteed to bring a smile to your face). You will love this, as there’s no other option.
Thieves And Legends – Another hard and heavy instant hitter right here. Immediately accessible, it’s got it all, from the start. Hugely catchy rhythm pulses throughout, enhanced by that hook laden melody. Ending on a definitive drum hit, this is just pure metal perfection.
Overall – Magnetic metal therapy, at its finest. If you’re looking for high octane, enthusiastic, exhilarating metal, with an explosive edge, ‘Panoptical’ fits the bill, perfectly.
10/10 **********
For fans of Kyrbgrinder, Boltthrower, Line Of Fire, Gun, Iron Maiden’s ‘Brave New World’ era.
Released on 14th December 2018, DIRGE’s aptly 7 track 7th album, ‘Lost Empyrean’ is their 1st production in 4 years. A paean to the angst of life’s trials and tribulations and the tenacity born out of them, it’s been 2 1/2 years in the making. Formed as a backdrop to the interconnections between astral and spiritual bodies, fate and the mediocrity of life, ‘LE’ is an all-consuming experience, characterised by the dichotomy of simultaneously opposing musical forces. Launched through Debemur Morti productions, ‘LE’ has been compared with early Baroness, Pelican and Isis, Neurosis and the current format of Killing Joke.
Wingless Multitudes – Crushingly heavy doom laden riff intro’s. A dark, macabre melody follows. Well timed, suitably morbid atmospherics pour through it, saturating the track with gloom. Fairly gory vocals, with a real depth of emphasis. Consistent in its monotony and unchanging tone and rhythm. The funereal pitch grows louder, towards the end, complemented by a distant funeral bell. Does what it says on the tin.
Hosea – Deeper and even darker, in its suffocatingly blackened intro, the doom is what this is all about. A prevailing sense of chloroform induced overwhelm consumes you. Suffering and despair comes through the vocals clearly, conveying a sense of poignant hopelessness, drowning your soul. Keening greyness personified.
Algid Troy – Colourless tunnels of depression intro. Almost booming with blackness, willing the light to emerge. The level of dull lifelessness conveyed is verging on genius. Pouring what appears to be a lifetime’s despair and despondency into a sound, beginning to replicate Pink Floyd, at their darkest, it actually combines prog, with doom, sludge and something approaching funereal metal. It’s quite a skill and may not be what you’d term enjoyable, but it’s certainly emotive.
The Burden Of Almost – Opening with a sound of distant bombs and storms overhead, there’s a stronger, braver note entering the vocals now. Still, that cacophonous accompaniment evokes deafening images. It’s almost edging towards a meditation on misery. Something speaking of long experience. The dark night of the soul emanates through it, so blatantly as to be nearing painful. The perseverance evident throughout those clanging instrumentals is extraordinary. Leaving a near mystical sense of entrancement, as it ends, the mesmerising quality is unexpectedly profound.
Lost Empyrean – Footsteps crunching into gravel intro and a powerful morosity follows. Thudding, thunderously, through the floor, the doom factor predominates. There’s a steely nature to the format here. Growing louder in volume and insistence, there seems to be an urgency in its message and tone. As a title track, this may not deviate much from the rest, but it’s just as powerful, in its flattened effect.
A Sea Of Light – A gradual intro, if anything, it’s even greyer and doomier. Crushing, piteously, through the floor, drudgery floods it. Repeatedly dashed hopes and consequent loss of faith screams through this. Dulling and darkening your mood, along with it, this’ll have you desperate for relief. Again, that percussive symbolism of cacophonous overwhelm hits, as you feel the sound drag you down. Yet, the final vocal brings just a hint of light and hope…
Sarracenia – A banging crash of an intro speaks volumes about the level of doom and gloom that’s now been reached. A level of introspective dismal depression that’s off the scale. Vague, jungle noises fill the minute space left by the overpowering darkness and despond. A gradually lightening sound may symbolise a chink of light entering, amidst the gloomy atmosphere. Ending on that note, it’s quite a relief from the downbeat mood.
Overall – It goes without saying that ‘Lost Empyrean’ isn’t something to listen to, for mood lifting purposes. However, it’s equally pertinent that it’s unlikely to enhance an already chipper frame of mind. Having said that, what it does succeed at is emphatically emphasising emotions empathically, in a way which could prove soothing, for similarly negative experiences. The stark symbolism inherent within its impressively consistent momentum is perhaps its biggest strength and in spite of its mood lowering properties, the performance and delivery of such is accomplished, without doubt, as is its musicianship, for which, it deserves points alone.
Now presenting their 2nd album, Archaic are already renowned amongst the thrash metal underground. Founded in 2004, their debut album came out in 2005, through Dutch label, ViC Records, to positive acclaim. A German tour with thrash Titans Testament followed. This, their 12 track follow-up, ‘How Much Blood Would You Shed To Stay Alive’, is now released and ready. Cover art by Peter Sallai (Kataclysm, W.A.S.P., Sabaton, etc), it’s the CD extra to edition 300 of the Hungarian Hammerworld magazine.
Their achievements so far include: 4 nominations and wins in 3 categories for the Hungarian Metal Awards – 2nd place, best album of 2017, best studio production and best album cover art; performing alongside Pestilence, Distillator and Necromonicon, Hungarian Hammerworld album of the month, December 2017, for ‘HMBWYSTSA’ widespread global acclaim, several festival slots in 2018 and supporting Skeletonwitch, Solstice, Bornholm, Turbowitch and Angerseed; performing in Slovenia, Hungary, Austria, Ukraine, Germany, etc and touring with Testament; playing alongside Vader, SuidAkra, Behemoth, Ensiferum, Exodus, Dew Scented, Carcass, Pestilence, amongst others; playing MetalCamp, Sziget, RockMaraton, Fezen and numerous other fests. ‘HMBWYSTSA’ received an average review score of 8.5/10.
Setting The Example – Beautiful piece of slide guitar introing, followed by a news oration, laid over the heavier sections. Carefully arranged drum and cymbal hits assist the narrative, in a steady handed way, as the tone stays as placid, yet as ominous as an ocean undercurrent. Interesting opening, ending suddenly.
Hidden Desire – Immediate heavy hitting thrash metal riffs hit the spot in an instant. Like an erotic sprint, the dark, threatening death vocals mingle with the lightning fast riffs, throwing electric sparks off the frets, while the drums lay down a solid background. Heavily rhythmic thrash metal hits the target, again and again, working up to another abrupt finale.
The Saw – Precision timing bangs that intro home. Real release. Feel the tension seep out, as the thrash metal atmosphere overtakes, till you lose yourself in it. Pure out and out metal attack fills the air, with those thunderous sounds, evoking imagery of the saw, doing its thing. Flawless timing, consistently heavy and reassuringly evil. Love it.
Lifebringer – Red hot riffs intro, taking it from the top. Raging angry vocals roar and spew their bloodied guts above the riffs, while the powered drums sustain the whole thing. Thrash heaven or hell, depending on your perspective and where you want it to take you, but either way, it’s absolutely solid. Focused as fuck, yet free as a bird and very, very Testament-esque. Also a slight echo of D.R.I.’s ‘Beneath The Wheel’.
Don’t Say A Word – Blazing riffs intro, tearing the place apart. Some very effective and well-placed sirens and aptly fast pace, getting even faster and giving chase. A very visual one, with a real catch about it. Gorgeous vibrato entering at just the right point. Visions of police chases build on the dark and hostile landscape depicted by the atmospherics and ever-increasing pace. A perfect ending, adding the final hit.
Last Man Standing – Gorgeously melodic steel string intro, bringing the bass aspects forward and throwing a vivid blackness onto the scene. An even faster rhythm screams its presence throughout and some really sexy riffing keeps it alive. Loving that steel string return, at the end and the tasty sound vacuum, closing.
Two Minutes Of Hate – Real heavy intro, laying down the hard line ground work straight away and battering it through your skull. Skilfully placed backing vocals join the frontline vocals, very briefly and those drums maintain an insanely intense pace and heaviness. Monster vocals, full on assault and nifty cymbal work ends the track. A simultaneous drain and release of energy.
Bonded By Leeches – The steel strings really come forward, big time here and it’s delicious. Backed by battle-esque drums and electrically melodic rhythm guitar. Another Testament-esque flavour resonates now. A new spin on the vocal style breathes space and light into the track, bringing a tighter, clearer edge to the drums. Intelligently crafted fade-out, creating a vacuum again. Quite an addictive number.
In My Slaughterhouse – Frantic riff and drum fest intro’s. Yummy pace, palpable drum rolls, turning it over and tastefully dark imagery accompanying. This really has got all you’d want in a thrash track. The raging rhythm and vocals, electric attack of the riffs, solidly heavy drums and darkly picturesque effects, with a great melody thrown in. Fabulous.
Bulletproof – Busy bar scene left to your imagination and drowned out by truly sexy riffs. A notable edge to them here and a slight southern blues twang aswell. They take centre stage in a big way, fitting succinctly with the satanic vocals, blurting out all their venom. Only one problem – it ends.
To Wonder – Lovely dreamy, folky intro, strumming its way into an altogether different picture. At least creating that impression, till all too cruelly, it ends, way too soon. That’s what you call a teasing cliffhanger.
… After A Kill – Banging drums enter the fray, introing you to a much more blackened image, ably supported by the rabid riffs and bestial growls. Well titled. The visuals are impacting and immediate. Rushing through the fray, with furious, menacing intent, adding in a few more electric riffs and a barrelling set of drum rolls, throwing out the final rounds of ammo, it’s a cataclysmic close.
Overall – One thing that can be said for Archaic – they know how to create effective visual imagery and they’re skilled at sustaining it. ‘HMBWYSTSA’ is a pure testament to that fact. It’s rife with sharply defined metal attacks and the sense of that never lets up. Alternating short shocks of alarm, with more elaborate arrangements, the quality never falters. A massively recommended thrash thrill, from beginning to end.
10/10 **********
For fans of Testament, Slayer, D.R.I., Municipal Waste, Danzig.
Two piece Polish thrash metal outfit Necro now present their new independently released 3 track EP, ‘No Mercy For Motherfuckers’.
Brainchild of Piotr Sobaszek, formerly of Necrophobic, Free Man, SOS I, Different World or THD, Necro launched their debut single, ‘Time Is Coming’, in September 2017, in digipack format. A solo effort, it was produced in Piotr’s home studio. Different World vocalist Leszek Ganiek joined in January 2018, when a new 3 track EP, ‘Chwalcie potege pieniadza’ was recorded. Following that, a full-length 12 track album, ‘Toothless Zombie’ hit the scene in April 2018. The title track was also released on Portuguese magazine Ultraje‘s ‘Cosmic Sounds 8’ compilation. Polish Musick magazine then featured ‘Chamy i zlodzieje’, from ‘TZ’, on their ‘Waking The Dead’/’Budzac umarlych’ compilation. June 2018 saw a new vocalist, Bartek Plaszewski (Herezis), who features on this current release, ‘NMFM’. Released in July, it previewed some of the newer material, launched in September 2018.
No Mercy – Interestingly misleading steady bass line gently introing, before the explosive thrash metal bursts into life. It’s actually a really impressive combo of fresh, lively vocal lines and rising instrumental melodies. Sophisticated tones, verging on sludge interweave with palpable retches and sharp, edgy screams. Something inexplicably refreshing hits hard with this sound and a real originality breathes through it.
Fight Against GMO – Hard, pumping, active riff and drum intro gets straight into it, with real immediacy. A slightly darker accent to this. Quite melodic, in places, but still reassuringly thrashy. Shorter track, with a direct message, pointedly conveyed.
Toothless Zombie – Instant hard hitter! Heaviness rules here. Some nice snazzy guitar riffs fire it up, as the zesty vocals combine with the monster death roars. It’s a noticeably fresh, alive take on thrash, throwing a lot of disparate elements together and making them work surprisingly well. Hard to compare, leaving a coruscating, yet uplifting effect, it ends on a clearly defined drum roll.
Overall – A pleasantly surprising electrifying shock of genuinely original thrash metal, featuring a lively, fresh combination of sounds, creating a burst of energy, grounded with solid bass lines and thrash atmospherics. Recommended.
Disintegrator, from Illinois, USA, a.k.a. ‘The Middle Of Fucking Nowhere’, re-formed in 2017, following standard line-up changes and have rapidly produced an up-to-date battery of songs, on a much more confrontational level. ‘Black Legion’ is the product of this new energy. With tracks themed around all the negative realities of today’s harsh world, Disintegrator plan to get in your face and rip it off, with their vicious performance style. ‘BL’ came after a successful win at Battle Of The Bands, at Full Terror Assault 3 and was released in August 2018. New material for next year is already underway, before which, Disintegrator are confirmed to play a variety of gigs.
Black Legion – That’s one truly blistering intro, well and truly living up to the hype. An extremely blackened, full on metal assault, like Gollum (LOTR) on speed. Vividly extreme, completely cohesive, a pure unstoppable force of nature. You want energy? You’ve got it with Disintegrator. Like to feel the force? ‘BL’ will shred your face, so you’ll never look at a cheese grater the same way again. All the rage of Pantera, with the extremity of Skeletonwitch.
Kiss The Goat – A childhood American Pledge of allegiance intro’s, followed by a vicious attack of thrash/death/melo-death combo’s, going hell for leather and giving it all they’ve got, till your ears ring. This is the stuff of evil Slayer-esque proportions and it’s just relentless, driving itself on, with 100% conviction and energy, till the end.
American Genocide – Earsplittingly passionate shredding opens, rapidly joined by monster roars, mountainous drumming, inventive cymbal work, together, supporting the all-consuming riffage, building the satanic picture, till the smoke rises from the scene, closed by a vomitous vocal, so evocative, it warrants an ‘avoid for an hour before and after meals’ label).
Justice – Mega explosive drum and riff intro, setting the scene for more lightning visuals and stormy sounds of metallic greatness. Notably more melody injected in here, conveyed through some beautifully shrill riff tones. You might say it ends slightly messily, but in this case, the cacophony seems to suit the track and serve it well, in completing the metaphorical picture.
Meth Ray – A full on, full volume, full throttle aural punch to the face intro’s, with an avalanche of drumming and rifftastic fest of epicness. Blackened acute growls characterise the track, with an edge so sharp, it’s lethal. Disintegrator have to win points for unrelenting energy, if nothing else. It’s just a hard house of cutting electricity and zing, from start to finish.
Plague Of Winter – Fire fuelled, red hot burst of flame filled riffs opens. The cavalcade of drums follow. Those throat shredding vocal yowls come next, backed by dirty, low down, deep growls. Keeping the crazed momentum and taking it up, to life blocking levels, all topped off with melodically shrill riffs, with a highly original vibrato section thrown in too. Everything condensed into a perfect mix, at the end. Steaming with metal heat.
Existence Denied – Throwing down the metal gauntlet, with a pure and thoughtful melody at the outset, catchy rhythms follow. It’s a moment of vague old school echoes, then the power comes to life. Ripping it up, for all its worth, with raging riffs, alternated with emotionally stacked melodies. The heart and soul sings through this. One listen’ll singe you for life.
The Politician – Hitting hard, with a drum fest intro, closely followed by effortlessly delivered riffs. This time, the creature rises from the Black Lagoon, through those doom laden growls and roars. The sharpness pierces the film of darkness again, as the shredding joins it. The atmosphere blackens, assisted by the final chilling cymbal hits, till it fades to funereal black.
Overall – ‘Black Legion’ is, in fact, the perfect title for this, as that’s exactly the picture it paints, on an aural level. Fuelled by rabid darkened rage and an all consuming fiery energy, it’s delivered in such a visceral way, that you’re filled with vivid visions of the Black Legion, throughout. Evil incarnate, yet astonishingly melodic, in places, the darkness reverberates through it, at every point. Surprisingly deep, yet consistently serrated, ‘BL’ burns with the rawness of truth.
9/10 *********
For fans of Skeletonwitch, Slayer, Pantera, Zeit, Carcass, Bullriff Stampede, Ordnance.
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