The release of their self-titled debut EP in 2016 suggested that Welsh thrashers Helldown had all the attributes to ascend the UK metal ranks, a thought accentuated by their subsequent acclaimed single The Watchers a year later. Now that proposal is about to be made a declaration with the release of new EP, In Deaths Hands, a collection of tracks which whilst suggesting that there is plenty more yet to come from the Swansea outfit, that ascent is well under way.
Formed in 2013 and consisting of blood brothers in vocalist/bassist Ben and rhythm guitarist Matthew Evans alongside drummer Ross Thomas and lead guitarist Lewis Larkman, Helldown have forged a sound bred on thrash, groove, and heavy metal. As the new release shows it is a potent trespass with thrash metal its instinctive fuel, one still enjoyably raw in its voice and tone to provide an edge and bite numerous like-minded bands have let escape in their growth. True uniqueness may still be absent in the band’s voracious sound but as In Deaths Hands proves it can be comfortably overlooked in the fresh trespass on offer.
The EP opens with The Unnamed, a track instantly entangling ears in ripe grooves and preying rhythms before launching into a predacious assault. The sonic invasion and enticement of both guitars make for a keen tempting, Ben’s vocals as the sound earthy yet magnetic within the harassment of riffs and rhythmic aggression. The subsequent twists and melodic endeavour that emerges revels in the prowess of their creators, the track a persistent hungry nagging endowed with that bright enterprise.
The EP’s best track is followed by Mortal Shell, another swiftly revealing intent and character with rapacious urgency. If at first paling against its predecessor, the track only grew in stature and appeal as its ravening riffs and grooves joined bitter beats and the heavy dark resonance of the bass to forge another thickly satisfying proposal.
There is a definite surface familiarity between the songs within In Deaths Hands, the beginning of next up Heretic highlighting the thought yet again it is a track which develops its own presence and enterprise with strength and imagination, the bass of Ben a riveting ingredient in the prowl of the ear grabbing encounter.
Flames of Heresy bring things to a close, its spirals of grooves waspish in their sting and barbarous in the subsequent harassment they inspire from across the band. The gang hollers that break out only emphasize the anthemic air and roar of the track, even as it prowls and stalks the senses between raucous eruptions.
It is a fine end to a release which only left us wanting to hear more from the band and reinforced the thought that Helldown has a very healthy future within the British metal scene.
In Deaths Hands is released January 17th
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Pete RingMaster 14/01/2020
Copyright RingMasterReview: MyFreeCopyright
Fire And Fury is next up and begins with its own dark, imposing invitation for ears and imagination, one proving easy to quickly devour and relish as it continues to darkly stain the weave of metal flames and sonic enterprise wrapping rhythmic agility. As with the first song, its body is perpetually galvanic and chorus anthemic cajoling as once again punk and metal unite in an almost garage bred styling of both flavours.
What’s Left of Me has an eighties metal breath to its opening holler which is soon immersed in the more voracious traits of the song but is never quite devoured to add further flavour to the traditional breeding of the encounter. Though not quite hitting the heights of its predecessors for personal tastes it is a magnetic affair from start to finish before being fully eclipsed by The Prophet. The following track immediately had the imagination engaged as its shadow thick crawl into view comes rich in intimation. The slowly revolving groove at its heart is pure melodic liquor, continuing to intoxicate as the track weaves its temptation and Blower unveils his guitar craft and enterprise to its fullest depths. The song is superb and quickly takes favourite track honours never relinquishing that spot to its following companions.
1200 Goddamned follows, the rhythms of drummer Mattias Starander again a potent and insatiable coaxing before the song uncages its full belly of riffs and grooves, the exploits of Jelencovich and lead guitarist Peter Hunyadi mercilessly infectious and invasive just as is the former’s great grungy tones. Even with its eager swing, there is a riveting predatory edge to the bass of Dennis Österdal, his lines threat and temptation together much as song and sound around them across the release.
Revisions opens with Tribute To The Fallen and as Lovett-Horn’s guitar coaxes ears and attention already there is a new sense of drama and intimacy to one of Promethium’s most compelling songs. Once Graham’s earnest tones join in, the track resonates in craft and emotion simultaneously revealing a new strength and depth of melancholy to immerse in.
It is a magnetic full start to the album but quickly eclipsed by Rifles and its tribute to legendary British sharpshooters, the 95th Rifles. The rhythmic canter of bassist John Roughley and drummer Danny Kelly instantly consumed limbs and energy, Simpson’s vocal lead sparking throat and spirit while keys again stir the imagination as guitars connect all with their animated and skilfully cast riffs and threads.
The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.
It immediately roars upon the senses with opener The Extremist, riffs devouring ears as rhythms voraciously pounce and drive the track through ears. Blower’s vocals have no restraint either but come with a more composed attack as the sounds ravage and incite. Heavy and more extreme metals textures collude in the tempest, every hook and groove as threatening as they are flirtatious with every bass growl and flying beat accentuating each magnetic trait. The track which originally appeared on XI, just hits the spot as familiar and unique sounds and textures come together with rapacious intent.
Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?
