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| #FOR FANS OF: Thrash, Hallows Eve |
In what is a refreshing breath of fresh air, Virginia thrashers Death Penalty decidedly forgo aping the Bay Area scene which has become so common throughout the scene and offers a slightly different take on modern Thrash Metal. Taking a more chug-based approach to the genre, the tempos and paces here are far removed from the blistering tones of the old-school classics and instead tend to revel in more thumping mid-range places that contain a lower energy than what’s become common throughout the scene. This does strike the band with a sense of identity here as they’re clearly not trying to follow everyone else and are boldly going their own path but oftentimes the lethargic pace afforded here is detrimental to the pace and energy required in the genre. There’s no biting, slicing riff-work to be found as the chugging patterns are quite a bit different and really bring a whole different dimension to the prototypical genre fare here instead of the razor-wire pace afforded to most of the genre’s output. Of course, that’s not so bad at all if not for the one nagging effort that runs rampant through this one and really holds quite a few problems with this as the low-key production is so apparent that it really can’t let the material get the most out of it. The guitars are bricked into a thick, heavy fuzz that even if they were given any kind of traditional patterns would be lost in a haze of fuzz that renders the majority of the riffs indecipherable except for the energy bleeding through. However, it’s really the drumming that really suffers here with hardly any punch and really sounds quite off on a full-length release, almost sounding like something that should’ve been on a demo or rehearsal such is the lousy quality of the production here. The tuning is off and simply set into a familiar series of simple pounding rhythms that get repeated throughout here in a loud, clanking tone that really sets them into a rather lame position throughout even if there’s a good production job here. Beyond that, the idea of having two tracks back-to-back in the running order set-up by instrumental interludes so that four tracks are wasted with the set-up and then eventual lead track seems quite likely a good idea just wrongly executed so that it just comes off as wasted space that could’ve been utilized better by more experienced bands. Despite that, the songs aren’t so bad. Intro ‘War’ gives us what we can expect here, mid-tempo patterns and lurching riff-work that remains quite enjoyable but never kicks into the higher gear as instead, this one shifts into slower tempos and paces despite still being quite listenable overall. This is certainly repeated in ‘Death Forever,’ which gives us the same template of the energetic riff-work up in the first half then slows down on the second half only this ranks a little better due to the improved riffing and stellar leads throughout. Set up nicely by the instrumental ‘Prelude,’ the title track is the best track here with the extended length offering more explosive riffing, more involved arrangements that remain quite interesting throughout and utilizes its epic riffs to good effect. The idea of having back-to-back set-up instrumental interludes might not have been wise even if it allows ‘The Curse’ to lead into ‘Bloodlines,’ another top track with more traditional thrash paces, pounding drums and a greater sense of energy in the performances, with the effect of it being a great idea that band exploits maliciously rather than out of natural practice. The rather bland ‘Infernal Sky’ tries to mix it up with some lighter atmospheric touches which are just wholly out-of-place in a thrash album and really sticks out like a sore thumb due to that. Frankly, most is forgiven here on the explosive finale ‘Nuklear Kiss,’ which really sets back into furious tempos with more frantic leads, pounding drumming and an ultra-fast tempo that really shows the band can work there in the future and ending this on a high note. Overall, it’s really none of the band’s fault this is so mediocre but rather that flat, demo-quality production that really hinders this one. (Don Anelli)
(Self - 2014)
Score: 60