Basement Critters – Hurt Me With The Truth

Apr7

Currently working on their debut album, Belgian metallers Basement Critters recently signed a worldwide distribution deal with Wormholedeath for their first official EP, Hurt Me With The Truth. It has given their highly praised offering, originally released in 2016, a broader voice, an invitation to a host of new ears and a sure to be fresh wealth of anticipation for that first full-length.

Thrash metal bred but coming with a richer variety of flavours, the Basement Critters’ sound is a mix of crossover adventure and thrash ferocity emerging as a beast akin to a fusion of Stuck Mojo and Testament. It is familiar yet pleasingly individual and unafraid to embrace any spicing which takes the West-Vlaanderen hailing band’s imagination. It makes for a rousing roar as evidenced within Hurt Me With The Truth, an encounter deserving of a fuller landscape to tempt.

The EP opens up with Brain Bleach and instantly prowls the listener with predacious riffs and rhythms. Guitarists Sven Caes and Glenn Labie wind their bait and emerging grooves around ears as drummer Frederik Vanwijmelbeke pounds with controlled but voracious intent. In the midst of the sizing up vocalist Thomas Marijsse brings a raw agitation which in turn is courted by the heavy grumble of Frederik Declercq’s bass. The song continues to stalk and tenderise the senses, going up a gear or two but never going for the jugular. Instead it springs a virulent groove which had the body bouncing as a swift appetite for the band’s sound erupted. That cycle repeats with greater tenacity and intensity, the track making for a tremendous start with a vocal self-diagnosis adding to its instinctive contagion.

The following Storm similarly circles its target, guitars driving its intentions before inciting a voracious assault. Again the band twists and turns in its attack, urgency varying with unpredictable adventure as the song’s ferociousness ever deviates. The vocals of Marijsse epitomise that adventure, fluidly moving through a variation of dexterity in tandem with the sounds before Nature Strikes Back raids the senses with a more expected thrash offense but one lined with irresistible hooks and anthemic tendencies. The track is superb, a galvanic incitement mixing up the old and new with fresh boisterousness and craft. Declercq’s bass unleashes a delicious rabid growl throughout the EP, though sometimes seems a touch hidden by the exploits around him, and is in full rumbling voice here as it prowls the blaze of the guitars.

Hurt Me With The Truth concludes with the pair of Book and 39:16. The first saunters through ears with an almost doom laden gait, vocals reflecting their emotional tone and defiance within the song’s own thick voracity and predatory nature while its successor is thrash savagery and heavy metal flirtation rolled up in a multi-flavoured nagging of ears and spirit. It also slips into tantalising calm as the progressive instincts of the guitars conjure, rhythms rumbling alongside before sparking a further anthemic arousal.

It is a fine end to a release which we are so glad has been given a new chance to introduce the thrash adventure of Basement Critters. Like those things in the dark corners of the lowest depths, the band’s sound lurks and prowls, often teasing before lashing out with a delicious feral bite.

The Hurt Me With The Truth EP is out on all digital stores via Wormholedeath / The Orchard.

https://www.basementcritters.be/ https://www.facebook.com/BasementCritters/

Pete RingMaster 04/04/2018

Crisix – Against The Odds

Mar29

With its title representing its creators’ “hard work, dedication and friendship”, Against The Odds is the fourth album from Spanish thrashers Crisix and one of those releases which revels in all the best attributes of thrash metal whilst adding its own individual adventure. It is a mix of the familiar and the boldly fresh, an inescapably rousing old school inspired modern fired romp of an encounter and a very tasty offering indeed.

Formed in 2008, the Barcelona hailing outfit has honed their sound across a trio of increasingly well-received albums beginning with The Menace in 2011. Both the following Rise…Then Rest of 2013 and From Blue to Black three years later established the band on their homeland’s metal scene while fuelling their reputation around Europe backed by an acclaim gathering live presence. Against The Odds just might be the moment when Crisix becomes a worldly known name, certainly it will awaken a horde of new hungry fans such its accomplished and impassioned roar.

Mastered by Jens Bogren (Arch Enemy, Kreator, At The Gates, Opeth) the album rips from the speakers with opener Get Out Of My Head. Riffs and rhythms surge through ears, their recognisable hues ridden by the gruff tones of Juli Bazooka. Backing band hollers and grooved incitement add to the growing virulence, its hooks flirting with the inane cheap tricks of the pop songs it takes a swipe at but always a dexterous intimation. It is vintage and individual thrash in one spirit, chest thumping stomp and a glorious start to the album.

The following Leech Breeder has a darker more intensive character and again the guitars of B.B. Plaza and Albert Requena unleash a tide of ravenous riffs to get things going. The bone shaking beats of drummer Javi Carry resonate on impact and song throughout, his anthemic prowess matched by the great bass grumble cast by Dani Ramis. Its irritability is echoed across the song from voice to tone, an aggressive trespass which only accentuates the infectious instincts of the track before Technophiliac matches its urgency and muscle with its own challenging contemplation. Weaving textures as addictive to ears as the source of its theme is to modern society, the song embraces extreme metal brutality and melodic enterprise in its imaginative web of flavours.

Three tracks in and it is fair to say that Against The Odds had us hooked and even more so as the atmospheric opening of Perseverance glides over the imagination. Its progressively hued suggestiveness subsequently parts way for a harsher climate to surround the senses but Crisix continue to experiment and weave an imaginative adventure as metalcore and other varied metallic hues entangle. Arguably the boldest track on the album for stretching their thrash instincts it is a wholly magnetic affair suggesting exciting new exploits ahead with the band.

Not that pleasure is lacking with Against All Odds, the Alien inspired Xenomorph Blood bursting out to consume attention and inflame an already greedy appetite with its murderous throes while Prince Of Saiyans floods the senses with its thunderous thrash ferocity. Dragon Ball themed, it is also another hungrily catchy escapade as eager to have the listener bouncing as dangling on the end of its lung depleting charge. With heavy metal spicing adding rich flames to its blaze, the track is rock ‘n’ roll at its grievous captivating best.

Leave Your God Behind is technical death thrash bred pillaging which did not inflame our senses as much as those before it but only kept the forceful persuasion of the album in top gear before Cut The Shit had all and sundry around defiantly roaring at the world with fists raised along with its rabid crossover thrash incitement. There are some tracks which have you throwing yourself around like a dervish, this more than most.

With also an open passion for Game Of Thrones, Crisix venture into its world with The North Remembers, a warrior roar of a homage with no intent of hiding the band’s love of its inspiration. With the guitars weaving skilled lures and devious riffs as rhythms impose and vocals unite in raucous enthusiasm, it is a fine finale to the album if not quite challenging for best moment as other songs more acutely do. You just know though that it is going to be a fan favourite and have venues roaring in unity.

As the years pass we find ourselves becoming more entangled and enamoured with the various shades and adventures emerging within thrash metal, bands like Crisix and records such as Against The Odds give all the reasons why.

Against The Odds is available now via Listenable Records @ https://www.shop-listenable.net/fr/186_crisix

http://www.crisixband.com/ https://www.facebook.com/CrisixOfficial/ https://twitter.com/crisixofficial/

Pete RingMaster 28/03/2018

Animosity Kills – Severance

Mar9

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

https://www.facebook.com/AnimosityKills/ https://twitter.com/AnimosityKills

Pete RingMaster 08/03/2018

Saintorment – Defective Mind

Jan18

Though are not exactly knowledgeable on the state of the Latvian metal scene bands like Skyforger, Trendkill Method, Relicseed, and Ygodehwh, those we have come across, all suggest it is rather healthy and it looks like the thrash side of its fury is in good shape too going by the new album from Saintorment. A ferocious roar of old school thrash with a penchant for speed and heavy metal, the band makes a very sizeable impression with Defective Mind, the release a thoroughly enjoyable fusion of the familiar and fresh.

Formed in Daugavpils in the spring of 2013, Saintorment took little time moving from a cover band playing Metallica, Kreator, Pantera, Exodus etc. songs to writing and performing their own propositions. A quartet since 2014 unveiling their debut album, Well of Sins, the following year, there is little more we can tell you about Saintorment. Worry not though as Defective Mind has all the reasons why they deserve plenty of your metal searching time.

The album opens with Physical Force, its destructive warning a portent of the ravenous riffs and senses plundering rhythms to follow. Unashamedly wearing the band’s inspirations, the track surges through ears, the contagious horde of insatiable grooves and riffs easily devoured. Unruly impassioned vocals only add to the persuasion, their controlled rabidity riding the fury of the sounds with zeal. Skilled breakdowns and keen twists bring new identity to the recognisable but greedily welcomed traits of the track, many sourced to those bands the band embraced in their first days.

It is a great start to Defective Mind continued by its hellacious title track. As its predecessor, the song goes for the jugular, riffs and rhythms a forcibly badgering invitation led by ferocious vocals and an enterprise which entangles and twists unsurprising thrash traits with the band’s own creative character and invention. There is drama in every breath of the song, even more so than the first, which adds to its compelling trespass.

There is also a great rawness to the Saintorment sound, one which is in its prime within next up We Are, an ears savaging predator with enmity in every swing and enticement in every resourcefully crafted groove and melody. Keenly revealing the appealing variety in the band’s sound which is sometimes understated but always teasing, the track left an already forming appetite for the album greedier and ready to seize the bodies of songs like Strong Enough and Never. The first has a punkiness to its animus, a cantankerousness which fuels its magnetic scourge while its successor has a great nagging quality to its riffs and grooves, a predation brought with darker intent by the vocals; both songs also rich in sonic and melodic dexterity.

Through belligerence soaked Zerofy and heavy metal nurtured …Dies at the Black Night, the album only accentuates its tenacious nature in sound and imagination where again familiar essences collude enjoyably with the individual ideation of Saintorment; Mood Pyrexia subsequently matching them in endeavour and success while building on the theatre of the song before with its tapestry of metal diversity over thrash instincts. An instrumental for ears and imagination, it masterfully highlights the skills and energy of all band members while casting its suggestive adventure.

The album finishes with Final Hour, a track as vicious as it is alluring as the band again casts a web of multi-faceted thrash bred metal, and finally bonus track Ai, kā man patīk. A raucous punk metal version of presumably a Latvian folk song with lecherous grooves and vociferous passion to the fore, it is quite superb and the perfect end to an increasingly addictive release.

Saintorment is a band all thrash fans should take time out to explore, their album a stomp which thickly satisfies each and every time, and their open potential something to keep a close ear upon. In reference to the final song, Oh how I like it!

Defective Mind is available now via More Hate Productions @ https://saintorment.bandcamp.com/album/defective-mind

https://www.facebook.com/SaintormentSNT/

Pete RingMaster 18/01/2018

Riffocity – Under A Mourning Sky

Nov21

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

Kings Will Fall – Thrash Force.One

Oct18

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

https://www.facebook.com/kings.will.fall.metal/ https://twitter.com/kingswillfall_

Pete RingMaster 17/10/2017

Mason – Impervious

Oct12

We are not going to kid you by saying that it is the most unique album you will embrace this year, though bold adventure it certainly does not lack, but you will have to go a long way to find something as seriously rousing and simply enjoyable as Impervious. The new album from Australian thrashers Mason, it surges through ears with rabid energy and unbridled aggression and proceeds to raise the ante groove by searing groove and hook by virulent hook.

Bursting from the Melbourne music scene in 2007, Mason openly embraces the Bay Area thrash scene and the obvious protagonists in the genre’s general eighties borne assault and consumption of world metal. A self-titled debut EP of 2011 was followed by the band’s first album two years later, Warhead which included guest guitarist Jeff Loomis (Arch Enemy, Nevermore) sparking far wider attention the way of the quartet. Its success was matched by that of second EP, Unmerciful last year and a live presence which over time has seen Mason share stages with the likes of Harlott, Havok, Accept, Revocation, Toxic Holocaust, Accept, Mutank, and Annihilator and play across Asia, Europe into Canada. Impervious looks and sounds like the key to the locks of the biggest spotlights and awareness, a tempest taking little time to get down to persuasive business.

The portentous lead of intro Eligos lures the listener straight into the waiting clutches of Burn. Within seconds it is careering through ears with predatory riffs and rhythms as vocalist/guitarist Jimmy Benson stirs things further with his eager snarls. Swiftly you can hear the touches of bands like Testament and Kreator in the song’s assault but only to enhance its oncoming and subsequently relentless irresistibility. Creative twists and turns come with a definite Mason identity to further entice and excite whilst the chorus amidst it all is manna for rock ‘n’ roll instincts. The track is superb, a rebel rousing, bone shaking treat setting the tone and adventure of things to come.

Tears of Tragedy is just as rapacious in energy and aggression next, the spiky tones of Benson as inspiring and tempting as his and fellow guitarist Grant Burns’ exploits. The rapier like swings of drummer Nonda T. and surly tones of Steve Montalto’s bass similarly stir spirit and appetite, their at times almost primal presence hungrily driving the sonic enterprise and assault of the song. With fiery melodies and descriptive sonic weaves webbing the encounter, it is another stirring slice of full throttle thrash to match its predecessor.

Both tracks hint at an even bolder adventurousness and individuality in the Mason writing and imagination which is more pronounced within next up song, The Afterlife. It too has top gear in full use but wraps it in a melodic and technical prowess which is almost overwhelmed at times by the song’s ferocity but a constant impressive pleasure throughout. It too has a chorus which gets under the skin within one round of its anthemic call while pushing the album’s already lofty heights on again.

The album’s title track follows; its tone almost barbarous as it sizes up its victim before consuming the senses with ravenous riffs, biting rhythms, and sonic animosity, this all bound in a virulent contagion which infests the psyche with ease. Individual flair again is as open as the animosity within the song’s irresistible presence before Cross This Path descends like a pestilential horde upon the senses. Saliva and venom drips from Benson’s tones, violence from Nonda T swings as the track carnivorously chews on ears. It is a predation superbly tempered by the sonic dexterity of Burns and Benson, though every tendril spun and melody uncaged certainly sears the senses.

Sacrificed has plenty to live up to as successor to its mighty predecessor and with its sonic webbing and thunderous air gives it a potent shot if without quite making the last few steps. Nevertheless, the track captivates as it pushes evidence of an even bolder appetite unafraid to experiment imagination within the Mason sound and potential before Hellbent on Chaos savages and entices in equal measure. It too might lack the final sparks of earlier companions, such their heights and not its shortcomings, yet has body and spirit inescapably hooked on its creative scourge.

The album concludes with the apocalyptic mayhem of Created To Kill. With words unleashed in rapid fire to match the concentrated trespass of riffs and rhythms, the song devours the senses. The bass of Montalto is a murderous ingredient in the suggestive patterns of the guitar, its predacious intent as darkly inviting as the flying beats and rabid riffs are insatiable.

It is a stunning end to one outstanding encounter which will surely put Mason on the metal map with a forceful bang. The future of thrash metal is in good, old school inspired, but increasingly bolder and imaginative hands.

Impervious is available now