The new album from German thrashers Running Death is one of those encounters you just cannot help going back to and with increasing zeal. Inspirations to the band include the likes of Megadeth, Testament, and Annihilator, traits audible within DressAge but their sound has much more in its armoury ranging from eighties heavy metal and rock to similar era speed metal. It all comes in varying degrees within a certain thrash bred stomp and all colluding in one virulently infectious and catchy slab of muscular rock ‘n’ roll.
The band’s debut album of 2015, Overdrive, ensured the Bavarian are no strangers to eager praise or a host to new waves of fans and things can only escalate with the release of DressAge. The album wears a grin on its creative face from its first breath and carries a mischief which gives its tracks a real feel of aggressive fun. It opens up with Courageous Minds, a track swiftly involving the listener in its lively gait and nature as rhythms thump and dance upon the senses whilst the guitars of Daniel Baar and vocalist Simon Bihlmayer spin a web of enticement. It is not long before the track is rigorously strolling through ears, the beats of Jakob Weikmann swiping as the voice of Bihlmayer growls in a quickly engaging affair which if not quite gripping the imagination as firmly as subsequent tracks certainly gets things off to a rather pleasing start.
Dressage is next, surrounding ears with an almost predatory web of textures cored by the throaty bait of Andrej Ramich’s bass. The anthemically driving rhythms of Weikmann quickly have the instincts to stomp hooked, the song taking mere moments more to eclipse its predecessor and really get the album rocking. Baar’s melodic enterprise is technically and sonically impressive and never diluting the natural roar and flow of the thrash fuelled encounter before a gasp of time brings the matching strengths and incitement of Delusive Silence upon an appetite already beginning to get a touch greedy for what is on offer. Fusing a great mix of melodic warmth and metal irritability, the track only blossoms its weave of adventure and varied sounds keeping expectations wrong-footed and the imagination hooked.
Next up Heroes Of The Hour wraps ears in a wiry weave of melody and creative snares before revealing a more predator side through jabbing beats and antagonistic bass. They are in turn aligned to swinging grooves, a revelry soon infesting the aggressive and infectious tendencies of the song as another highlight is crafted before Duty Of Beauty bounces upon ears with a catchiness which borders on poppy. Those eighties influences spice all tracks and certainly impregnate the boisterous rock ‘n’ roll of the fifth song which also has a touch of Danish rockers Grumpynators to it.
Through the bulging contagion and biceps of the Motorhead scented Numbers and the motorbilly fuelled Beneath The Surface, fresh heights are continued and pushed, both outstanding tracks as compelling in tone and character as they are in individual craft while Anthem of Madness has neck muscles working and the body romping with its voracious instrumental theatre.
The album closes with the pair of Safety Second and Refuse To Kill, the first a fiery ballad which haunts and snarls in equal measure as guitars conjure a tapestry of evocative suggestion around just as strong vocal expression. It is a song which simmers upon the passions compared to other tracks but rapidly grows to be just as persuasive with each rerun of building body of energy and adventure. Its successor has a darker edge to its air, a song close to stalking ears as it fills them with rapacious rock ‘n’ roll cored by the most crotchety slice of thrash metal upon the album.
Cloaked in the fine work of Mexican graphic artist Joel Sánchez Rosales, DressAge is a proposition which merges something familiar with something forcibly fresh, the outcome a record which inspires only enjoyment and an eager energy to get involved. We will not say it will be a regular album of the year nomination but it will be one metal roar we will be keenly joined in love for.
DressAge is out May 26th via Punishment 18 Records and @ https://runningdeath.bandcamp.com/
https://www.facebook.com/runningdeath https://twitter.com/runningdeath1
Pete RingMaster 25/05/2017
Copyright RingMaster: MyFreeCopyright
Welcome To Your Nightmare ensures things are only more gripping and exhausting next, its Anthrax scented thrash tirade irresistible from the first breath and only increasing its lusty allure as it releases its devil. Driven by the slamming beats of drummer Egil Mydland, the song alternatively stalks and launches itself at the listener across its hellacious contagion. The guitars of Slettebø and Bjørnar Grøsfjell arouse as they abuse whilst the bass of Eimund Grøsfjell is aural predation at its barbarously seductive best.
but still a captivating maelstrom of technical skill and inflamed agitation. Though the band has no bassist, there is a heavy tone which at times is hard to define whether it is bred from four strings or a baritone guitar but relentlessly gives tracks a richer ravenous shadow and depth, as shown by Eucharist Dead Flesh. Swaggering with a thrash seeded intimidation and energy, the song is a hostile flirtation, teasing and tearing the senses with its cantankerous and scarring scythes of sound and malevolence, an attack at times swathed in some quite delicious melodic ingenuity. It is a blistering treat of a violation but only the start of an extended new plateau breached by the album.
down on the senses before settling into the casting of predatory riffing and antagonistic beats. It is a dramatic and gripping torrent of intent and sound driven forcibly by the excellent vocals of Lafias supported anthemically by the shouts of Spades and Tsampras. The song is a ravaging onslaught but also a tempest which has the guile and deception to slip into moments of stalking rapaciousness and respectful intimidation, though it is only to un-cage a scorching solo before reasserting that savage and exalting furnace of intent and aggression.
with the following title track. Stabbing air with crisp strikes of drums and riffs it is a potent start but it is the rumbling throaty crawl of the bass which first excites. Its dark menacing tone persist its stalking across the subsequent even paced tempest of riffs and drum antagonism which surrounds the ears. The vocals of McEwen are enjoyable and eager, if at times unpredictable, but it is his bass offering which steals the passions early on, though that is soon challenged by the excellent flume of grooves which writhe within the predacious crawl and charge of riffs which switch persistently across the song. With a great guitar solo flaming as a greater rabidity spills its hunger, the track is an enthralling and thrilling introduction.
into the waiting predatory clutches of drummer Dan Van Twest and the ravenous riffery of Andrew Hudson and Ryan Butler. With the bass of Tom Richards adding another throat of intimidation to the mix, the track shrugs off any tethers and begins a stirring rampage across the passions with an intensive rhythmic battering and almost carnal riffing. The vocals of Hudson are just as eager as the sounds, riding their charge with clean but growling tones backed just as impressively by those of Richards. The song stomps and lurches from one memorable post to another, nothing spectacularly ground breaking or unique to the history of the genre but with a more explosively contagious and irresistibly anthemic stance than any thrash release has arguably presented in a long while.
beckoning in metal it seems, before being thrust aside by the outstanding Land Of Cunning. Riffs and rhythms are assaulting the ears from its first seconds whilst a stringent groove twists the senses around its bony fingers. A persistent repetitive lure marks the track deliciously whilst the vocals of Liuni make a compelling varied persuasion with a snarl and twang to his delivery that only draws in further an already emerging appetite to match the strength of the charging sounds around him. There is little which is unsurprising or new to the attack but it matters little as the track niggles and erodes defences with skill and venomous intent. As anthemic as a stripper leading karaoke night, it is a mighty start with only its quite hefty length being a slight complaint, something which does grows to more of annoyance across other song as some feel unnecessarily stretched.
the senses. It is an immediately incendiary confrontation elevated by the excellent vocals of Clausen and the escaping grooves which taunt before wrapping tightly around the still torrential flow of antagonistic riffery. There is a swarm like incessancy to the attack which only accentuates the song’s temptation and merciless persuasion, but also an intent which is equally sure and precise in its picking and seizing of targets.
view with Returned from Hell, sulphur fumes spiralling off of its grooves within an aggressive cage of rhythmic spite. The vocals are equally as noxious in their guttural squalling and demonically coated appetite, and though they initially take time to acclimatise to are the bearers of the blackest serpentine shadows and depths alongside a thrash seeded fury which is more compelling than fearsome but thoroughly riveting.
energetically, and it is a mere breath in before riffs and drums proceed to rampage mercilessly upon the senses. The vocals of Hideyuki Okahara come with a raw Hetfield like grazing to add further immediate entrapment for the passions and through it is relatively brief attack, with ease the rhythmic might of drummer Hiroshi Yoshioka and the bass lures of Yusuke Adachi stand out alongside the vocals, all seizing moments to cage and provoke beyond the basic fury of the song.