Image from: http://en.wikipedia.org/wiki/File:Evile-Skull_abum_cover.jpg
For a while I’ve been hearing rumors that thrash is
back. I’ve caught wind of murmurs
echoing from metal strongholds across the Internet, claiming that the decline
of the ‘90s was merely a speed bump.
Looking into these allegations, I’ve found them to be nothing but true,
and English thrash outfit Evile stands among the vanguard of this
reinvigoration. Evile’s latest
release, Skull (Century Media/Earache
Records), presents the listener with a hearty nod to thrash tradition, complete
with relentlessly aggressive riffs, clean-plucked intros and interludes, and a
healthy dose of harmonized lead guitar work.
As
a thrash album that borrows extensively from the sound of the original wave, Skull must stand trial by its pioneering
predecessors. While it doesn’t
contain much that sets it apart, opting to replicate rather than innovate, it
does compare well alongside the greats of the ‘80s and early ‘90s. For one, Skull skillfully combines the chaotic sprint of early Slayer albums
with the tight precision found in Metallica’s original thrash efforts. The influence of these two groups
doesn’t stop there. Evile’s vocals
bear a sound similar to that of James Hetfield with a delivery that at times
resembles that of Tom Araya. The
album even begins with foreboding crypt noises; reminiscent of the intro to
Exumer’s Possessed by Fire. Though these ‘80s innovators have
already secured their place in thrash legend, Evile’s Skull carves out its own right to a mention in thrash history with
its deft musicianship. Like a good
thrash album should, this recording pulses with complex and dynamic riff
sequences. Lightning fast rhythms
fire off like machine gun rounds and then change tempo to deliver slower,
crunching blows. Paying due
reverence to the breadth of thrash styles, Skull
shifts from clear, meticulous riff-work to messy, cymbal-crashing fury as
the album storms on.
Overall, Evile’s Skull is an adrenaline-filled
release. Lively drum work coerces
the listener to bob his or her head to its bouncing trots and later knocks his
or her skull with thumping bass pedal beats. In addition, energetic, mosh-worthy riffage gyrates
throughout the album, invigorating the listener. Furthermore, many of the album’s rhythms channel the
danceable groove that Sepultura displayed even in their early thrash
releases. The album also
demonstrates a mastery of building and releasing tension. Every time I was tempted to think that
a track was falling flat, in came a change of tempo, a cranium crushing riff,
or a tone-altering breakdown that kept me interested and sucked me back into
the fray. From the outset of the
recording, Evile controls and commands the listener’s musical experience. The only shortcoming that I could sense
was the soloing. For me, the
guitar solos were certainly emotive, but not breathtaking in terms of
technicality. However, I can see
how one could make an argument in the other direction, especially on “Words of
the Dead,” so I’m not going to hold this impression too heavily against the
album.
I thought the core of the album
shined. The fourth track, “Head of
the Demon,” starts out energetic and enticing and then proceeds to hit the
listener with dark chord progressions that cascade into thudding palm-muted
chops. The fifth track, “Tomb,”
begins with poignantly plucked melodies, woven with increasing intricacy, and
then builds into an ascending thrash charge. At 7 minutes and 26 seconds, it serves as a strong, epic
centerpiece and will certainly please fans of Metallica’s “Fade to Black” and
“One.”
In the end, I would sum up this
album as a brilliantly executed trip down a path that has been tread many times
before. However, this path has
become overgrown over the years and could use a good bushwhacking. In light of the ‘90s decline, as a
thrash fan, I wholeheartedly welcome this return to the old-school sound. It’s a very, VERY good return.
For this album, I’m going to give a qualified scoring.
If you’re a thrash fan raised on the ‘80s sound, you’ll love
the album:
Score: 9/10
But if you’re not particularly into thrash and are just
looking for new developments in metal, there’s not much here that hasn’t been
done before:
Score: 7/10
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