Infrared – Saviours

Pic By Gord Weber

Recent times have seen a growing wealth of eighties bred metal bands rising from their assumed demise or slumber. Thrash metal especially seems to have that power of resurrection. Some of those bands are venturing into new areas, some simply continuing what they did best back in the day which lured potent attention, success and reputation. Infrared sits in the second camp, their love and hunger for classic thrash openly inspired by contemporarys like the Big 4 as well as the influence of Sabbath, Maiden and the likes. As old school thrash never dates or tires in our ears, a resourcefully woven and imaginatively delivered encounter of said genre has a welcoming place and the new album from the Canadians is that and more.

Hailing from Ottawa, Infrared grew from local legends to stirring real attention within the national metal scene. Their sound was and is rooted in 70s and early 80s metal, bands such as Accept, Scorpions, and Judas Priest alongside those already mentioned inspirations on the quartet. Their rise came to a halt as life took members down different paths until 2014 saw three of the original four reuniting; vocalist/guitarist Armin Kamal, guitarist Kirk Gidley, and drummer Alain Groulx coming together again. Original bassist Shawn Thompson had since relocated to Miami so Mike Forbes was brought in to complete the line-up. The foursome then released debut album No Peace which featured songs written all those years ago. Now successor Saviours brings eight brand new tracks to ears, songs which swiftly grabbed ours as themes of “demagogues, dictators, and religious leaders professing to be the saviours of the world but instead inflict the most brutal attacks on humanity imaginable” roared.

Saviours erupts into life with Project Karma its opening magnetic yet portentous lure, one becoming even predacious as it prowls the senses. A delicious groove spears it’s stalking, a swinging proposal aflame with sonic enterprise and rhythmic incitement. Its initial lengthy instrumental is irresistible and only accentuated once the warrior tones of Kamal backed by the band head the song’s even fuller assault. Familiar and fresh hues collude in its web, imagination blossoming across its fiery body as a tremendous start to Saviours is set.

That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.

Through the melodic and melancholic elegance to tempestuous roar of The Fallen and the voracious charge of All In Favour the album just hit the spot. Across both tracks the vocals of Kamal added more incitement to an appetite already happily feasting on the individual prowess and enterprise of the band, Forbes’ bass especially dark liquor stirring our taste buds. They are all attributes just as persuasive within the predatory They Kill For Gods and Father of Lies with its intensive atmosphere over increasingly manic and ferocious entrapment around demonic character. The most adventurous of all the tracks it simply enthralled.

The album finishes off with Genocide Convention, a trash dervish of sound and aggression with spiralling sonic wires and senses blistering turbulence. Our favourite track it brings the thoroughly and increasingly enjoyable release to a mighty close.

Uniqueness might be a rarity compared to familiarity within Saviours but from an already established base it breeds fresh adventure and captivation. The album lit our pleasure from start to finish and Infrared is further proof that very good things can only get better with age.

Saviours is out now through iTunes and other stores as well as @ https://infraredmetal.bandcamp.com

http://infraredmetal.ca   https://www.facebook.com/infraredmetal   https://twitter.com/infraredmetal

Pete RingMaster 27/05/2018

Copyright RingMaster: MyFreeCopyright

Animosity Kills – Severance

Pic: Tom Robert Wold

Well over two years ago, Norwegian outfit Animosity Kills stole attention with their first EP, Manipulative. It offered up a rousing mix of heavy and thrash metal, a fusion nurtured in the influence of bands such as Metallica, Iron Maiden, Pantera, and Testament but as fresh and bold as it was familiar. It was fuelled by inescapable potential and suggestion of bigger, bolder, and more individual things to come; a suggestion more than partly realised by the band’s debut album, Severance.

It is probably fair to say that the Bergen hailing quintet still has some way to go to find their truly unique sound and character but with releases like Severance there will be no irritation at the wait. The eight track release is a magnetic beast of a roar with songs which just glue to the memory as greedily as they do ears. Formed in 2013, Animosity Kills boasts a three-pronged guitar attack all geared to stir up the listener in body and spirit; an intent as forcibly and inventively matched by the band’s rhythmic enterprise. Manipulative was an ear catching introduction to Animosity Kills; Severance evidence of a band destined to be further widely embraced.

The album opens with Black Death, gently luring in the listener with an opening melody. It is soon backed by a towering wall of riff and rhythm, one still controlled but swiftly springing a ravenous charge of raw riffs and rhythmic biting. Its thrash instincts are to the fore, driving through ears as eagerly as the swinging incitement of drummer Eirik Nilsen and the brooding tone of lead vocalist Erik Lindelid’s bass. With an underlying rabidity to its charge and a predacious restraint to the invasive bait of guitarists Stephan Høgtun, Rupert Notøy Rødland, and Mats Bruland, the song tempts and teases in between ravaging the senses, promising more ferocity than it unleashes but benefitting in that manipulative suggestion.

It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.

The following Lord Of Darkness looms over ears from its first breath, riffs and grooves colluding in thick enticement as rhythms firmly rap the senses beside Lindelid’s vocal growl. As it grows, the song twists and turns, the guitars weaving individual and united resourcefulness with almost lusty appetite as beats and bass continue to bring threat and intensity to the inescapably catchy challenge.

Its success is swiftly matched and eclipsed by that of Thermic Vision, a track which instantly gripped personal appetites with its snarling opening riffs and a gnarly carnivorous bassline to drool over. Captivating grooves entwine the dark intent and temptation, the rapacious edge to Lindelid’s vocals adding to the alluring menace of the song. Its thick thrash nurtured riffs are an equally predatory incursion aided by the thick slaps of Nilsen’s beats, it all together creating a track as sonically stylish as it is barbarously intrusive around a volatile heart.

The album’s title track is next, instantly pulling ears into its torrents of compelling riffery and pummelling rhythms with an addictive touch which seeps into the following Pantera scented prowl of voice and song. It is a predacious trespass broken by Metallica-esque twists and flames of metal varied rock ‘n’ roll, groove and alternative traits among many. With a mouth-watering hook which infests the psyche, the song grabs a thick urge of participation before Revolutionary Suicide saunters in with a feisty and imposing swagger. From its first breath it swings as it harries the senses, its contagious instincts complimented by a more composed but just as tempting exploration which leads to a mercurial passage of melodic and progressively scented enterprise.

The mighty Ballistic was a major treat on the band’s first EP and again hits the spot with its grooved entangled rock ‘n’ roll. With something of Grumpynators to its virulent swagger and ravenous swing, the track is a quickly addictive incitement which only escalates its individual lures and united contagion by the groove, rhythmic swipe, and vocal snarl.

Invictus completes the release, its opening riffs preying on ears and appetite with a predatory intent before taking it into its blossoming prowl of thrash discontent and heavy metal fire which in turn expands into melodically cast suggestion amid bolder adventure. Though the song did not grab as vigorously as others, its enjoyable individual endeavour suggests a sound already evolving with an imagination to really anticipate ahead.

Certainly Animosity Kills has a sound which is not the most unique but as Severance declares in a roar which leaves ears richly pleasured, it has freshness and potential which is only heading in one direction.

Severance is available now @ https://animositykills.bandcamp.com/album/severance

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Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Dark Hound – Dawning

Without a plaintive twang in sight, Dark Hound presents a new side to the assumed Nashville music scene though new album Dawning. Hear the Tennessee capital’s name and you automatically think country music in its glory but the ear grabbing quartet prove that its metal scene is in pretty good shape too.

Dawning is the band’s second album and sees them more than build on their well-received Oceans EP of 2015. That followed a self-titled debut full-length from a year earlier which itself sparked strong support across the local rock and metal scene. Formed in 2009, Dark Hound has persistently built and earned a potent reputation for themselves highlighted by Oceans and now set to be escalated by the Kaelin Tauxe/Dark Hound produced Dawning.

The band’s sound is a magnetic mix of flavours; heavy, alternative, and groove metal as prevalent as more progressive and voracious flavours. It is a blend which swiftly grabs attention within opener album Ashes of Your Worth. Instantly riffs ride the senses, the just as persuasive tones of vocalist/bassist ET Brown melodically surfing their tenacious waves. With grooves swiftly winding around ears as a grunge wash descends the track only tightens its grip, guitarists Evan Hensley and Preston Walls weaving a mesh of enterprise as crafty as it is imposing. The track is superb, taking little time to incite and inflame an appetite for stylish yet instinctively rapacious rock ‘n’ roll.

The ticking bomb of Josh Brown’s beats leads in the following Guilt Tripper, his bait accompanied by citric soaked grooves. The punk coated attack of ET’s voice soon joins the thrash spiced temptation, his bass invitingly throbbing as melodic hues infest voice and sound; the cycle repeating with greater endeavour as the track embraces fresh flavours each round. The song bears some of the inspirations to Dark Hound, essences of bands such as Megadeth, Iron Maiden, and more so Testament rising in its heavy metal exploits before making way for the equally infectious trespass of Carnival of Youth. ET’s seemingly calm tones again have an underlying snarl in their arsenal, it igniting with raw dexterity to match the fire of the sounds around him led by the rapier swings of Josh. Captivating from beginning to end, the track reminds of UK band Promethium a touch, the Dark Hound sound infusing their individual invention with more familiar ingredients to fine effect.

The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.

Predacious in tone and sound Thrown to the Wolves quickly hits the spot next, the track almost crawling over the senses even with its eventual lively gait and nagging persistence while Stripped Away aligns acoustic flirtation and creative drama for its own gripping theatre. Considered and seductive, boisterous veering on rabid, the song is a carousel of adventure making a big statement for best song, both tracks in the running and matched all the way by the raucous yet harmonically teasing Balancing Act. Again recognisable flavours collude with strong surprises for a proposal which infested ears and appetite like an aural addiction.

Through the shadowed lined charge of The Jagged Edge pleasure was constant though certain moments did not connect with personal tastes as firmly as others, nothing though to dismiss the increasingly persuasive encounter over, while Thrashgasm delivered exactly what you would expect with its title with aggression and creative passion energy, the snarl of the bass and the ever energetic vocal incitement especially enjoyable.

The album concludes with Here Lies Truth and immediately trespasses ears with carnal riffs and teasingly salacious grooves. Again vocals simply draw involvement as guitars badger and conjure, rhythms imposing and driving song and spirit in fine style alongside as Dawning closes on another high

After the first couple of involvements we would have said Dark Hound had something worth checking out, numerous listens later it is a proposition which needs to be explored. This is a fine band in the making with an album we have found ourselves only getting greedier over.

Dawning is released digitally and on CD January 19th, available @ https://darkhound.bandcamp.com/album/dawning

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Pete RingMaster 19/01/2018

Copyright RingMaster: MyFreeCopyright

Riffocity – Under A Mourning Sky

As if thrash metal has not be blessed enough with some outstanding releases this year, Greek metallers Riffocity have added another mouth-watering roar with their debut album Under A Mourning Sky. Thrash bred but casting a web of inescapable hooks and incessant grooves doused in melodic fire, the ten track encounter is like a dog with a bone; seizing ears and imagination with creative jaws, gnawing and shaking the senses until absolute submission is given to its predacious prowess.

Formed in 2013 by guitarist Dimitris Kalaitzidis, Serres hailing Riffocity gave notice of their potential and invention with the Disciples of the Storm EP last year. It is fair to say though that Under A Mourning Sky has not only realised that early promise but taken it to a whole new level. Recorded with Firewind guitarist/keyboardist Bob Katsionis, who also mixed and mastered the encounter as well as provided its keys, the album instantly lays a tight grip on attention with the opening throes of first track Hail Thy Father. As imposing beats land riffs gather, guitars and bass colluding in drama and intent as melodic wires emerge to entangle the threat. Straight away an appetite for the impending explosion is ripe, increasing in anticipation as the band heads into a momentary suggestive breath and the groove woven netting which springs from it. Made up of various twists, the track’s nagging enterprise is irresistible, the guitars of Kalaitzidis and George Lezkidis casting addiction as the bass of Panos Savvas grumbles. With the rousing roar of vocalist Thomas Trabouras backed by Kalaitzidis its own anthemic incitement, the track is near on perfection and certainly one of the best starts to an album this year.

Riffocity swiftly show the dexterity of sound and imagination in their sound with next up Arnis Oblivion, its opening piano nurture elegance is soon wrapped in classic metal breath and suggestion before thrash instincts again charge ears with nostrils flared. The sudden drop into melodic calm with a great clean Greek sung croon just catches the imagination, Constantin Maris guesting alongside Trabouras across the song. The band continues to sublimely blend mellow and feverish endeavour with increasing imagination and unpredictability before the song makes way for the ferocious energy and infectious trespass of the equally outstanding Bitter Sunday. Again the fusion of thrash and groove metal, to simplify its character, is so easy to devour and get involved with, riffs and rhythms alone a virulent persuasion never allowing expectations a moment to settle.

Fortunes of Death emerges from its stormy climate with melodic tendrils wrapping ears with more poetic suggestion, their vines as captivating as Trabouras’ gentle but commanding vocal caresses. It too is an enslaving start which blossoms into a compelling theatre of sound and enterprise with Maris once more adding his vocal prowess. There is something familiar about the song once it is in full bloom yet nothing which can be defined only enjoyed as the band blends an array of metallic flavours with increasing boldness and intensity; the track at times as rabid as its predecessor.

Through the ravenous tone and exploits of This Eternal Secret Lies Above and the senses stalking tenacity of From Inside the Arrows Come, the album and pleasure just escalate, the second of the two especially invasive and riveting with Riffocity again showing they really know how to begin a song and build anticipation for its attack, and indeed how to back up that suggested potential with craft and invention.

There is no sign of a dip in adventure or enjoyment as track by track the album ravages the senses, next up Isolation open in its Testament/Exodus like breeding and bold in its own creative mature while Perished Unloved, with Savvas’ bass simply and wonderfully bestial in voice, twists and turns with dervish qualities and a devilish intent though its thrashing antics are all controlled and eagerly rapacious.

The album’s title track is another where certain elements seem recognisable yet everything is fresh and eagerly chewed upon as the song dances voraciously and trickily in the ears, setting up a new wave of greed ready for the closing raptorial grasp of Above the End. With riffs that hound ears, rhythms that pummel the senses, and an anthemic urgency that ignites the spirit the track is inescapable pleasure, and with imagination and melodic canniness blazing within those walls, a conclusion to the album as potent as its start.

As suggested, thrash has had a mighty year with impressive releases and Under a Mourning Sky just might be the best of the lot; certainly it is at the fore of the most enjoyably addictive and devoured right here.

Under A Mourning Sky is available now through Riffocity.

https://www.facebook.com/RIFFOCITYbandgr/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Kings Will Fall – Thrash Force.One

In a year of some particularly potent thrash bred onslaughts, the debut album from Kings Will Fall definitely stands out. It may have missed your attention as ours until now, being released earlier this year, but more than deserves devouring attention. Dealing ‘Thrash ‘n Death’ from the Alps since their emergence in 2013, the Italian quartet have hit the sweet spot with Thrash Force.One, a senses buffeting, appetite arousing onslaught which fuses old school thrash with death metal bred flavourings and individual ferocity.

Hailing from Sarntal in South Tyrol, Kings Will Fall consists of vocalist Fabian Jung, guitarist Rene Thaler, bassist Daniel Vanzo, and drummer Lukas Gross. 2015 saw the release of demo EP, Death Comes Early, a well-received appetiser for the attention grabbing release of Thrash Force.One. As its title suggests, the album is an unbridled rush on the senses, a forceful tempest of thrash metal driven in top gear from the first throes of Toxic War. This second track bursts forth from the atmospheric setting of opener In Dead & Mud & Misery, a sample laced war zone setting up the climate of things to come. Initially its successor stalks the listener, prowling with irritable intent before opening its jaws to unleash its storm. With the eager vocals of Jung surfing the tide of riffs, the track infests ears and imagination with ease, the inspirations of bands like Testament and Exodus proudly spicing the rush. Embracing fiery enterprise from Thaler too, the track simply grips body and pleasure.

Next up Shots for Glory swiftly stamps its own heavy authority on ears, sizing up its victim as bass and drums probe. It holds its restraint in place for a while as vocals and riffs harry the senses, relinquishing it a touch as new hunger hits grooves and rhythmic predation but never giving a free hand to aggression though everything about the song bites hard and relentlessly. Its infectious animosity is subsequently twisted with the band’s inventive imagination, the track an unpredictable and captivating fury before Burn All Fuel begins its determined trespass with nagging riffs and barbarous rhythms. Subsequently the track becomes a ravaging scourge with Jung’s caustic scowls magnetically backed by death bred growls, a masterful blend in the equally captivating and inhospitable contagion of sound. Vanzo’s bass is bestial, Gross swings delivered with bone splintering power and with the dexterous exploits of Thaler it all contributes to one glorious thrash roar.

Endless Pain quickly infests its riffs sculpted entrance with imagination and unpredictable revelry, the thrash bred heart of the song littered with Kings Will Fall nurtured character but never wandering from its rabid genre instincts while Damage Crown is two minutes of bullish, almost punk scented maniacal metal and quite superb. It borders on schizophrenic as it sets a new pinnacle in the lofty heights of the album, at times stomping around with Anthrax meets Biohazard like bedlam to steal the passions and trample their lustful submission under further devilment.

As mighty as both songs are, Buster soon grabs best track honours with its predatory yet addictively flirtatious savagery. Kings Will Fall again goes for the jugular but with a flair and flourish which exhilarates as they show further evidence of their own imagination and creative boldness. It’s maelstrom of grooves and riffs are pure addiction, its rhythmic assault welcomingly vicious and combined pure manna for the thrash hungry heart.

The sultry twang bringing Gängster 1948 into view is a deceptive lure but a scent of the rock ‘n’ roll lining the metallic animosity of the track.  As it ventures deeper into its soul and heavy rock instincts, song and band get more adventurous and tempting, opening up a whole new aspect to their thrash personality. There are definite essences of Motörhead within the track and there is no surprise when the album closes with a fine cover of the band’s We Are Motörhead which has limbs and pleasure bouncing with raw energy.

It is a riotous end to an album which commands a swift return time and time again. Certainly Thrash Force.One is not the most unique proposition at times yet every moment has a personality all Kings Will Fall which is as fresh and adventurous as anything out there. As we said 2017 has been a great year for thrash bred exploits, Thrash Force.One one big reason why.

Thrash Force.One is out now @ https://kingswillfall.bandcamp.com/album/thrash-force-one

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Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Toxik – Breaking Class

As the number of metal bands returning after extensive breaks or simply break-ups often decades earlier keeps going up so are the amount of impressive releases emerging from these reunions. Adding to the list and almost heading it is the new EP from US thrashers Toxik. Offering three tracks of the genre in its old school breeding, Breaking Class is everything that is irresistible within thrash metal with a healthy freshness linked to experience that newcomers can only learn from and be inspired by.

Subsequently one of the most potent forces with thrash once emerging in 1985, New York hailing Toxik released a pair of increasingly recognised as classic albums in World Circus (1987) and Think This (1989) as well as built a potent live stature which included sharing stages and touring with the likes of King Diamond, Testament, Dream Theater, Exodus, Pantera, Candlemass and many more. Disbanding in 1982, interest in the band was clearly evident with the release of a pair of live DVDs in 2007 and 2010. Announcing their return three years after the second DVD with Shadows Fall’s Jason Bittner replacing original drummer Tad Leger, Toxik very successfully toured Europe and South America showing the lingering support for the band. Since then the line-up has seen James D’Maria of Generation Kill replacing Bittner and vocalist Charles Sabin (from the band’s second album, Think This) taking over from original frontman Mike Sanders as well as bassist Shane Boulos linking up with band founder and guitarist Josh Christian. It is a unit which seems to be a perfect fit as Breaking Class ravages the senses, an organic roar driving its rapacious sound and intent from the EP’s opening seconds.

Those first moments come courtesy of Stand Up, the track spiralling from an initial sample woven lure with wiry guitar swirling around senses jabbing beats. Straight away instincts for anthemic metal are awoken, vocals a rousing incitement backed by hungry riffs and a brooding bass line which almost dances with an established appetite for its flavours. There is a great Anthrax like tenacity and tone to the track around its chorus but equally a modern crossover essence bringing whiffs of bands such as Suicidal Tendencies and Municipal Waste into play but all spices assimilated in a proposal familiar, new, and distinct to Toxik.

The outstanding start is more than matched by the EP’s title track, Breaking Class a devilish surge of riffs and whipping rhythms fuelled by an energy and devilment just as evident in Sabin’s instinctively persuasive vocals and tenacity. Christian similarly has ears and imagination hooked with his aggressive and inventive web of riffs and sonic enterprise, never allowing the listener to settle without adding a new twist then another then….

As compelling as it is riotous, the track is itself more than matched by the closing Psyop; that healthy brew of flavours within the opener uncaged again within its more predatory climate and gait and again involved in an adventurous and almost challengingly unpredictable proposal. It maybe old school nurtured but the song, as its companions, show that does not mean things have to be restrained in boldness and imagination and they certainly are not in the hands of Toxik.

With hints of a new album in the works, it is as if Toxik has never been away just taking their time to create what is one of the most enjoyable thrash stomps of recent years.

The Breaking Class EP is released August 4th with re-ordering available now @ https://toxik.bandcamp.com/album/breaking-class

https://www.facebook.com/TOXIKMETAL/

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Whorehouse – Corporation

Eight years ago, Polish thrashers Whorehouse sparked eager attention and broad acclaim with debut album Execution of Humanity. Just recently they unleashed its highly anticipated successor and fair to say it has not taken long for similar reactions to crowd the ferocious roar of Corporation, an album which grabs the listener by the scruff of the neck and hurls them into a brawling, rousing tide of thrash goodness.

Formed in 1995, the Cracow outfit grab the open inspiration of Bay Area thrash for their hungry, social and politically savaging sound. For a band which has been around twenty years, it is maybe a touch surprising that Corporation is only their second album though any length of wait is quickly forgotten once the accomplished tempest of sound and intent is uncaged. Recorded by Dominik Burzym (Mord’A’Stigmata, Atrophia Red Sun) at Studio 67, Corporation flies from the blocks with its title track, guitars gathering their creative thoughts and textures before sending a tide of familiar thrash nurtured but fresh riffs through ears. Rhythms punch and poke with equal hunger, the vocals solo and in band unison as arousing and anthemic as the sounds around them and in no time participation with its chorus alone is lustfully offered. With the guitars creating a web of sonic enterprise across its latter and still relentlessly contagious body, the song makes for an irresistible start.

It is a pleasure trapping success quickly emulated by The Same Old War, the following track a surge of nagging riffs and growling vocals as the bass groans and beats venomously swing. Again involvement with its antagonistic contagion is easy and full, an appetite for the melodic flames shooting across rapacious exploits unstoppable as Whorehouse again colour their sonic storm with imagination catching craft and boldness.

Toxic Dance similarly has body and thoughts bouncing; spicy grooves colluding with predacious riffs from the start before things again settle into a ravenous flow of tenacious riffs and biting rhythms nurtured in the inspirations of bands such as Exodus and Testament. In no time the track is a boiling, brawling incitement of prime thrash metal before Payback launches its own tirade of animosity and torrent of skilfully crafted thrash rabidity. As much as the core riffs, as in all songs, are soaked in genre familiarity, the guitars soon twist things up with their melodic enterprise and sonic unpredictability, a mix matched in the vocals and the uncompromising rhythms led by the magnetically snarling bass.

The virulent savagery of W.W.W.A.W.W.B (We Were, We Are, We Will Be) floods through ears soon after, its tone toxic and defiant, its sound just as incendiary with some of the most delicious hooks and grooves to be found on any thrash album in recent times while Invaders infests the senses with wiry grooves as a torrent of creative drama infects every note and twist within the best track moment within Corporation. It is a status closely challenged across the album to be honest, the following The Silent Unseen making its bid with a furious and volatile contagion so easy to get greedy over.

Anguis In Herba brings things to a powerful close, the track the most imaginative and creatively dramatic on the release. The instrumental is cinematic in its air and striking in its texture rich tapestry of sound. It provides a fine end to an album difficult to pull away from; certainly one helping at a time is not nearly enough to satisfy an appetite for one of the most enjoyable thrash proposals of recent times.

Corporation is available now through Defense Records.

https://www.facebook.com/krkareathrash/    https://www.metal-archives.com/albums/Whorehouse/Corporation/651478

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright