“If you ever wanted to hear nineteen-eighty-pick-a-year aped by some little shits who never lived through Cliff Burton-‘tallica, 2017 delivered in spades. Barcelona’s young bucks No Amnesty should have been getting their braces off at 15, not hitting the stage. Now older, wiser, and still ineligible for a beer in the US, the world is their öyster.” Thrash knows no age of consent.
“Preconceptions can go far, regardless of the subject. From only a handful of clues, people extrapolate a picture and form an opinion. Take Niviane with their debut album The Druid King. With only the name, title and album cover to go on, I expected folk-infused power metal, possibly in the vein of Elvenking. As it turns out, my folk expectations weren’t warranted.” Expecting an elf, and you get an orc. A mean one.
“I like a gap of a few years between albums; I find it reassuring. Anything sub-24 months and I begin to get twitchy. This is probably wholly unreasonable, and I’m sure the AMG readership can think of a litany of absolute turnips that took years to write and record, but I simply can’t help it. I was a little put out, therefore, to discover that Witchery were planning to unbox their latest work, I Am Legion, a paltry 350 days on from the release of their crushing 2016 effort, In His Infernal Majesty’s Service.” It’s the slow knife that thrills.
“Not many bands live to release a 16th album, but Annihilator is a testament to persistence through good times and bad (especially bad). Sure, some folks feel they should have closed shop after their well regarded sophomore outing, Never Neverland, but haters be damned. The band is the baby of founder/guitar wunderkind/sometimes singer Jeff Waters, and he seems disinclined to put it out to pasture anytime soon.” Never, never say…stop?
“Somewhere in an alternate universe exists a blog dubbed “Happy Metal Guy” which exclusively runs reviews of throwback traditional metal albums. This must be true, because enough records of this sort make their way into our promo bay – where the majority are subsequently ignored – to make such a website a reality. I think so many of these records are glossed over by AMG staff because, by their very nature, innovation is the least of their priorities, and most aren’t solid enough to make up for the lack of originality.” Escape from Dimension HMG.
“Hey look, the weirdest inside joke in all of metal is still going strong. Backstory: Masters of Disguise is a throwback speed metal act living and breathing to pay homage to a particularly obscure band from the 80s called Savage Grace. Who, you ask? Exactly. They were a good band but barely got any traction or notoriety despite a pretty solid outing with 1986s After the Fall From Grace. Now Masters of Disguise (named after Grace’s debut album) seek to revive their hero’s nonexistent legacy due to some highly tenuous ties to the original singer.” First Will and Grace comes back and now Savage Grace too?
King Parrot make grindcore great again. At least that’s what I thought after first hearing the Australian quintet’s 2012 debut Bite Your Head Off, which bucked genre norms by fusing groovy aggression with honest-to-God vocal hooks and a “hip slumdog” attitude. In my review of 2015 follow-up Dead Set I referred to the band as the “Die Antwoord of grindcore,” and that remains one of my favorite analogies I’ve made at AMG to this day.” King for a day, grind for 12 minutes.
“There are albums and there are comeback albums. While the former can have their share of pressure and anticipation, pressure and anticipation are inevitable for the latter. Especially the larger the gap between a band’s previous releases and their comeback. Celtic Frost’s Monotheist, for example, had a ridiculous amount of hype surrounding it. The band felt it, the fans felt it. But, after sixteen years of CF silence, Monotheist arrived and left its mark. Another legend to return from the grave is Autopsy. After another sixteen years, they returned with a vengeance—proving to the world they could still be as raunchy as ever. But, why a come back?” Back from the dead with the Reaper in tow.
“Kill! is most largely occupied by thrash influences but splices in death growls, hardcore sneers and the occasional slower, dirgier riff. The staccato style of djent also features, particularly in the introductory riffs to a number of tracks. The two bands I hear most are Kreator and Meshuggah, rendering it established in the modern day but definitely facing backwards.” Crippers and blood.
“Addition, subtraction, so much of metal involves the bolting-on and prying-off of countless sub-genres. Musicians and critics often fall into the trap of viewing music less as an expression of fertile creativity and more like a chest of drawers awaiting assembly. Start with a death metal base, insert black metal vocals into socket B, affix progressive chords perpendicular to the shelves… wait, we’re missing two slats and I’ve stripped a screw. Billed as a melding of tech death, black, and thrash, Omnipotence – The Infinite Darkness by Toronto natives Astaroth Incarnate had the cynic in me guessing the end-result without listening to a single note.” Maths are hard.
