(Reviewer: Billy Taylor)

This offering is Nebukadnezza’s 4^th full-length release and is in this reviewer’s opinion by far their best. That isn’t because the previous releases were not up to scratch, it’s just that this captures the band’s sound better than any previous recording.

Coming thundering in with the title track/introduction ‘There Is No Revolution’, it doesn’t take Nebs long to start delivering the goods. Anyone familiar with the band will know what to expect from them, but new listeners are in for some of (if not the) the most aggressive and intensive music out there in the UK thrash scene.

It’s hard to describe Nebukadnezza’s sound without referring to various other genres. The drumming has elements of modern grindcore but with insane precision and an oppressive feel usually found in death metal. All of this is complemented by the truly guttural vocals and fast-moving riffs which create an overall feeling that the songs are being forced into your ears at gun point! This feeling could become too intensive at times, but fortunately the album is interlaced with sound bytes that usually act as a premise for the upcoming track. If I had to level any criticism at the album it’s that the solos, whilst performed capably, do not usually compliment the songs overall.

This album is a must have for all fans of the extreme.

www.myspace.com/nebukadnezza

Comment on this post in our forums

(Reviewer: Billy Taylor)

Despite being a very short offering at just two tracks, Heretic’s ‘Saltergate’ EP leaves a lasting impression, the  most obvious being the quality of the production. This is due to the work of Russ Russell, who has famously produced Napalm Death, Dimmu Borgir and more recently UK thrash heavyweights Evile.

The title track opens with an industrial ambiance very akin to those found on newer Napalm Death albums. What hits next are the vocals, sounding like the best parts of Barney Greenway, David Vincent and Patrick Lind combined. Frontman Martin Crawford injects some much needed style into something that could have otherwise been labelled as “mid-paced”, or dare I say uninspired? Fortunately the track as a whole comes across very well, closing as it began with an industrial aura.

The next offering ‘Isle Of Dogs’ is far more pushing, crafting an image of suburban dystopia with really interesting mid-sections and more of Mr Crawford’s almost signature vocals creating feelings of tension throughout.

Whatever has been said about Heretic it is clear from this EP that they are trying to set themselves apart from the usual thrash niche and carve their own sound. If this EP is a sign of things to come then I doubt they will have any problems doing so.

www.myspace.com/hereticinextremis

Comment on this post in our forums

(Reviewer: Billy Taylor)

Damnas is a name that should be familiar to anyone who follows the London thrash scene, having been on countless bills and violated many a thrashophile’s senses. This EP is their first release and by no means a shabby one, as it gives a definite feel of what Damnas is all about. That being a series of brutal social reflections wrapped in a symphony of pugilistic riffs, groovy breakdowns and storming lead guitar work. These are all complemented by Antonis “Donny” Christodoulides’s fast-paced and aggressive vocal style, leaving each word stamped into your mind as if by a steel toe-capped boot.

For this reviewer one of the better tracks on the EP is ‘The End Begins’; with its bleak wordplay, excellent melodies and harsh guitar tone it comes across as a very close summary of the world as it stands in this depressive century. The other track that stands out on the EP is ‘Corrupt Mind’; a beautifully written acoustic introduction evolves into a gruesome tale of a serial killer reflecting on himself and his crimes.

I would highly recommend this release to anyone that enjoys excellent riff-writing and stark social imagery with tinges of Kreator and Exodus, and for those who dwell in darker territory than beer and zombies.

www.myspace.com/damnasonline

Comment on this post in our forums

(Reviewer: Paul Bolton)

H.O.D have been well received in the UK thrash scene despite not easily slotting into any given category (ooh err), and with their second full-length album the lads have spewed out another instant classic from their beer and ketchup smeared pieholes. ‘Surge Kill Steal’ takes the debut album and ups everything a notch; NWOBHM that often crosses into full on thrash metal with an emphasis on big, anthem-like choruses delivered with screeching gusto by vocalist Rev D. Catchy fuck-off riffs and shameless solos add to a mix that can’t help but leave a big, dumb grin on your face. The lyrics cover wide-ranging subjects, from a beast made of meat (‘Nightbeast’) and ‘The King of Sweden’ (a song about guitar lord Yngwie Malmsteen) to more typical heavy metal clichés such as ‘Helm’s Deep’. Personally, I prefer it when this horrible set of drunks belt out hilarious beery anthems rather than more traditional power metal-esque fantasies, and the golden quality perhaps sags a bit in the middle of the album with some less memorable tracks. But the production has taken a big step up from ‘Beer, Bitches, Blood’, and the H.O.D you once knew now sound altogether more professional and powerful. There’s no doubt that Warrington’s finest have once again delivered another balls out, top rockin’ album that’s primed and ready for you to utterly ‘Go Apeshit’ to.

www.myspace.com/hospitalofdeath

Comment on this post in our forums

(Reviewer: Billy Taylor)

This is the debut album from the north-west power/thrash/cheese merchants, and it kicks off with a rousing cover of the theme from Casualty. This leads into the fantastic ‘Down the Hatch’, which is from what I can gather based on the cult kids’ TV show Trap Door. This pretty much sets the trend for the rest of the album, with songs based on tabletop gaming, The Punisher, a giant floating head with laser eyes and a cover of the 1986 Transformers movie theme. That’s not to say the ridiculous premises are the sole reason to have a listen; near enough every track is a journey through heavy metal wonder, crammed full of blasting riffs and awe-filled solos and choruses that will have you blasting falsetto at grannies on the bus. Most importantly, this must-have album is available completely free as a download, or as a hard copy for a minimal cash injection. It’s no wonder that Hospital of Death’s popularity has grown so fast in such a short time, and fans can now pick up their equally battering follow-up album ‘Surge Kill Steal’.

www.myspace.com/hospitalofdeath

Comment on this post in our forums

(Reviewer: Paul Bolton)

Back when this demo was released in 2007, Mass Extinction seemed to be riding on a wave of popularity, supporting their heroes Exodus, Destruction and Sodom amongst others in their native Ireland. And the influences from those bands are plain to see on ‘Creation’s Undoing’. It’s a shame that there’s been no sign of an album on the back of this release, because it certainly shows promise. The demo contains three surprisingly well-produced, straightforward thrashy numbers that tick all the boxes with a big black marker pen labelled “aggressive thrash”. It all sounds very professional, but it is hardly anything new or particularly interesting. However, if you’re after some solid headbanging material, you can’t go far wrong in picking this up. Here’s hoping that these obviously skilled blokes manage to pull an album out of their collective hats in the near future.

www.myspace.com/massextinctionmetal

Comment on this post in our forums

(Reviewer: James Ashbey)

Seemingly out of nowhere comes this storming 3-track demo from Londoners Muted; a band who have been banging heads since 2005 but haven’t yet managed to spread their name beyond the local pub circuit. With any luck though this release will be a turning point, as it offers three utterly convincing slabs of chugging metal, firmly rooted in the legacy of the ‘80s and early ‘90s and yet very much its own brand. The demo is characterised by anthemic vocal harmonies and hook-heavy riffs reminiscent of ‘Youthanasia’ era Megadeth, with everything executed in a very polished manner (in a good way). While a thrash vibe is vaguely present in the palm-muting and general speed of the songs, the band’s mixed metal tastes also shine through, making for a refreshing traditional metal blend. Closing track ‘Poison in the Womb’ perhaps lacks some of this addictive formula, but the standard remains high throughout, and is topped off by a great production job. Muted have recently announced some major line-up upheavals, but let’s hope this recording isn’t their parting blow, as it could be the beginning of great things.

www.myspace.com/mutedsound

Comment on this post in our forums

(Reviewer: James Ashbey)

Everything about Warpath speaks of a hard-working and highly professional outfit, from their meticulous press pack to the impressive promo video for ‘Damnation’ and the boon of having their debut album mastered by James Murphy (Death, Testament, Obituary). These factors can only achieve so much though, and the real verdict must be based on musical credentials. Unfortunately, I struggled to find anything exciting about Warpath’s sound. ‘Damnation’ may tick all the right boxes as an aggressive-but-clinical thrash release, but the album possesses very little discernible character, fuelled by unmemorable chug riffs, excessive double-bass drumming and Americanised vocals. Sadly the hyper-modern production only adds to this verdict for me, despite being an impressive feat for an unsigned act. Fans of the present day output of bands like Exodus and Onslaught might find redeeming qualities in this release, and Warpath’s live assaults are no doubt a different story, but on record they seem to offer very little for anyone looking for thrash with identity.

www.myspace.com/warpathuk

Comment on this post in our forums

(Reviewer: Paul Bolton)

The leaders in the field of Scottish thrash Amok earned themselves a release on Witches Brew after this, their first full length album dropped, and rightly so. In an interview with the UK Thrash Podcast, front-man Stephen told me that they were often surprised at the lightning skill of some of the English bands’ lead guitarists, but added that that’s not really what Amok are about. ‘Downhill Without Brakes’ showcases a fun, bouncy brand of thrash metal, much in the vein of ‘Among the Living’ era Anthrax, which the lads clearly prefer to overly complex guitar work or rough, snarling vocals. That’s not to say this album isn’t heavy or technical, but it’s a breath of fresh air, especially on stand out songs like ‘Sectioned’, ‘Kill the Gestapo’ and ‘Thrash Island’. The songs dance around the line of silly and politically aware lyrics and focus on big riffs and plenty of moments where you’d almost expect to hear a cry of “WAAARDAAANCE!” All in all, ‘Downhill Without Brakes’ is catchy and memorable, and a world away from being a paint-by-numbers Slayer rip-off.

www.myspace.com/amokscotland

Comment on this post in our forums