Technical Thrash Metal

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VOIVOD Dimension Hatröss Album Cover Dimension Hatröss
VOIVOD
4.37 | 53 ratings
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CORONER No More Color Album Cover No More Color
CORONER
4.38 | 44 ratings
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VEKTOR Terminal Redux Album Cover Terminal Redux
VEKTOR
4.31 | 30 ratings
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VOIVOD Killing Technology Album Cover Killing Technology
VOIVOD
4.18 | 46 ratings
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MEKONG DELTA Dances of Death (And Other Walking Shadows) Album Cover Dances of Death (And Other Walking Shadows)
MEKONG DELTA
4.33 | 12 ratings
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VEKTOR Outer Isolation Album Cover Outer Isolation
VEKTOR
4.18 | 42 ratings
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CRYPTOSIS Bionic Swarm Album Cover Bionic Swarm
CRYPTOSIS
4.37 | 10 ratings
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WATCHTOWER Control And Resistance Album Cover Control And Resistance
WATCHTOWER
4.18 | 30 ratings
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MADROST The Essence of Time Matches No Flesh Album Cover The Essence of Time Matches No Flesh
MADROST
4.38 | 8 ratings
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CORONER Mental Vortex Album Cover Mental Vortex
CORONER
4.15 | 37 ratings
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VEKTOR Black Future Album Cover Black Future
VEKTOR
4.08 | 46 ratings
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MEKONG DELTA Lurking Fear Album Cover Lurking Fear
MEKONG DELTA
4.25 | 8 ratings
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technical thrash metal Music Reviews

AFTERMATH (US) There Is Something Wrong

Album · 2019 · Technical Thrash Metal
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UMUR
"There Is Something Wrong" is the second full-length studio album by US, Illinois based thrash metal act Aftermath. The album was released through Zoid Entertainment in May 2019. Aftermath formed in 1985 and released no less than four demos in the years 1986-1990 before forming their own label Zoid Recordings for the release of "Eyes Of Tomorrow" in 1994. As Aftermath disbanded with no further releases under their belt (other than a 1996 promo tape) it appeared that "Eyes Of Tomorrow (1994)" would be their sole album release. They existed under the Mother God Moviestar monicker from 1996-1999, but weren´t heard of again until 2014 when Aftermath was ressurrected.

25 years between your debut and your sophomore album releases is a long time for any band, but for an artist like Aftermath, who were only mildly successful in their initial run and for the most part should probably be considered a footnote in 1980s/1990s thrash metal history, 25 years is a very long time. Since there is probably zero economic incentive to record and release "There Is Something Wrong", it´s safe to assume/conclude that this release was purely created for the love of the music, and that´s of course always worthy of praise.

That assumption is also audible when listening to "There Is Something Wrong", which is anything but a commercially oriented release. It´s politically charged/conspiracy theory themed thrash metal featuring industrial elements and samples, and some pretty strong hardcore/crossover leanings too. It´s relatively progressive in nature, but probably not progressive in the way most people understand the term. The musicianship is strong and lead vocalist Charlie Tsiolis has expanded his repetoire in the 25 years since "Eyes Of Tomorrow (1994)". He performs both raw thrash/hardcore vocals and spoken sections. The riffs are thrashy, chugging (many breaks), or hardcore punk oriented, and the drums often utilize double bass playing. I was actually a bit surprised to learn that a human drummer recorded the drums on "There Is Something Wrong", because honestly the drums sound a little lifeless and programmed.

"There Is Something Wrong" features one of those digital sounding productions, which could have prospered from a few organic analogue strokes. The drums are produced in a way that only enhances my assumption that they are programmed (even though Ray Schmidt is credited for playing the drums).

Although "There Is Something Wrong" is a very different sounding release to "Eyes Of Tomorrow (1994)" and the two albums could easily have been released by two different artists, the adventurous songwriting approach and the progressive song structures are something the two albums have in common. "There Is Something Wrong" is upon conclusion an album I find interesting more than I find it great (which is also how I feel about "Eyes Of Tomorrow (1994)"). I applaud the boldness of Aftermath and the experimental nature of their music, but the tracks just don´t grap me and there is a lack of memorable moments to elevate the album from interesting to a great listening experience. A 3 star (60%) rating is warranted.

AFTERMATH (US) Eyes Of Tomorrow

Album · 1994 · Technical Thrash Metal
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UMUR
"Eyes Of Tomorrow" is the debut full-length studio album by US, Illinois based thrash metal act Aftermath. The album was released through Zoid Recordings in 1994. Aftermath formed in 1985 and released no less than four demos in the years 1986-1990 before forming their own label Zoid Recordings for the release of "Eyes Of Tomorrow", and it´s safe to say that the band missed their window of opportunity, as thrash metal releases like "Eyes Of Tomorrow" were more or less ignored by music listeners and the music press in 1994. The thrash metal scene had been in decline since 1990-1991 and by 1994 only a few of the most prolific acts had survived (the rest were condemned to underground status), and an artist like Aftermath, who debuted in 1994 didn´t stand many chances. Lo and behold "Eyes Of Tomorrow" also ended up being the band´s sole studio album in their original run as they disbanded in 1996.

"Eyes Of Tomorrow" is a relatively original sounding thrash metal release combining technical playing with progressive structures and ideas. Acts like Coroner, Anacrusis, and Voivod come to mind during the album´s playing time, but Aftermath don´t sound like any other particular act. It´s just influences and contemporary sounds and ideas which are similar to the mentioned artists. The riffs and rhythms are relatively technical in nature, and the tracks often also feature atmospheric sections and clever lead guitar work. Lead vocalist Kyriakos Tsiolis has a rough voice and a raw delivery. Unfortunately it´s rather one-dimensional in nature and delivered in a staccato mode which soon becomes a tiresome listen (he reminds me a little of a thrash metal version of Mike Browning from Nocturnus). His singing/talking parts over some of the more atmospheric sections aren´t much more interesting, and the vocal part of the music ultimately isn´t that great.

The music may be technical in nature, but it´s filled with abrupt tempo changes and unconventional song structures which make the music a little trying in terms of memorability. I wouldn´t call it a difficult album to comprehend, but the lack of memorable riffs and a lead vocalist which doesn´t bring much to the table isn´t a good combination, and it makes "Eyes Of Tomorrow" one of those albums which is more interesting to listen to as a musician than as a regular music listener. I´m intellectually intrigued by the ideas in the music but my primal headbanging thrasher isn´t satisfied. The rather weak sounding production job doesn´t enhance the listening experience either. The guitars are too low in the mix and they lack power, and the same can be said about the drums. I´ve seen some fans of technical/progressive thrash metal describing "Eyes Of Tomorrow" as an unsung gem of the genre, but to my ears there are plenty of reasons why the album never reached more than underground status and recognition. A 3 - 3.5 star (65%) rating is warranted.

CORONER Coroner

Boxset / Compilation · 1995 · Technical Thrash Metal
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UMUR
"Coroner" in an epoymously titled compilation album by Swiss thrash metal act Coroner. The compilation was released through Noise Records in March 1995. It would be the last release by Coroner featuring new material before they disbanded. Some of the new tracks were actually recorded after the band split-up, as they agreed to unite for a final recording session. Only guitarist Tommy Vetterli is featured on all tracks though. A few tracks feature drums by session musician Peter Haas and "Golden Cashmere Sleeper, Part 2" features bass parts played by Chris Vetterli.

The compilation features material recorded between March 1987 and February 1995, and the tracks featured on the album are a combination of new recorded material and select tracks from their preceding studio albums. One track from each of Coroner´s five albums plus the two cover tracks by The Beatles and The Jimi Hendrix Experience, which are featured on two of their studio albums, and a few rarities. Because the compilation features no less than eight new recordings out of the sixteen tracks on the compilation, it´s often refered to as Coroner´s final (and sixth) full-length studio album. Two of those eight new tracks are short interludes though, so in reality you only get six regular length new compositions on this compilation. The remaining tracks are arguably normal compilation type material.

The new recordings are of course the most interesting part of this compilation, as most people already know the album tracks. Stylistically there aren´t that many surprises as the new tracks sound a lot like the material found on Coroner´s fifth full-length studio album "Grin" (1993). So it´s atmospheric, cold, and sometimes almost robotic/sci-fi futuristic thrash/heavy metal, which is how Coroner sounded at this point. It´s still technically well played, with blistering lead guitar work, and Ron Broder`s raw singing/talking type vocals in front. In other words this sounds unmistakably like Coroner.

The whole package is well produced and this is arguably a good quality release from Coroner. Ultimately I still find it a bit odd to release something which doesn´t know if it wants to be a full-length studio album or a compilation album. Had Coroner recorded just two more new tracks, and left out the "best of" tracks, this could have been their sixth full-length studio album, but now it´s just a sort of inbetween release, where as a seasoned Coroner fan you have to skip the tracks you already know to get to the new material (why on earth have they placed songs like "Serpent Moves" and "Reborn Through Hate" in the middle of newer songs?). A bit frustrating really. But when that is said this is as mentioned still a high quality release from Coroner, and a 3.5 star (70%) rating is deserved.

CYNIC Reflections of a Dying World

Demo · 1989 · Technical Thrash Metal
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UMUR
"Reflections of a Dying World" is the second demo recording by US techncial/progressive metal act Cynic. The demo was independently released in 1989. There have been a couple of lineup changes since the release of Cynic´s 1988 demo, as lead vocalist Jack Kelly has jumped ship. Guitarist Paul Masvidal therefore performs vocals on "Reflections of a Dying World" in addition to playing guitar and Jason Gobel has been added as a second guitarist. The rhythm section of bassist Mark Van Erp and drummer Sean Reinert remain from the first demo.

Stylistically Cynic continue to play a technical version of Bay Area thrash metal (aggressive acts like Vio-Lence and Dark Angel), just like they did on the first demo and although especially the drumming by Reinert is on a high technical level, the relatively generic thrash metal songwriting and Masvidal´s raw staccato delivered thrash meetal vocals keep things grounded and there´s little here which sticks after the demo has ended playing.

The sound production is decent considering that "Reflections of a Dying World" is a 1989 thrash metal demo, and you can easily hear all instruments and vocals in the mix. I don´t hear great development since the first demo though and that goes for both the sound production values, the performances, and the songwriting, and this is still far away from what Cynic would evolve into in just a few years. A 2 - 2.5 star (45%) rating is warranted.

VOIVOD Dimension Hatröss

Album · 1988 · Technical Thrash Metal
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UMUR
"Dimension Hatröss" is the fourth full-length studio album by Canadian, Quebec based progressive metal act Voivod. The album was released through Noise Records in June 1988. It´s the successor to "Killing Technology" from 1987. The original vinyl and cassette tape versions featured 8 tracks, while the CD version featured the short cover of the "Batman" theme song as bonus material.

"Killing Technology" (1987) saw Voivod exploring new progressive thrash metal territories, and the album features a more sophisticated and complex sound than the raw and intense thrash/speed metal albums which preceded it. "Dimension Hatröss" takes that new direction and runs with it. It´s a highly technically challenging release, featuring unconventional time-signatures, dissonant riffs, abrupt changes in pace and adventurous song structures. When that is said Voivod successfully maintain their raw authenticity and sometimes anarchistic punk/thrash approach. The music is so unique that it´s almost impossible to label right. Suffice to say it´s progressive metal of some sort.

Lead vocalist Denis "Snake" Bélanger has a distinct sounding voice and singing style, which isn´t exactly pretty and it´s not your typical raw staccato delivered thrash metal vocal style either. He is probably best described as a punk singer completely out of his turf, but he is quite the charming frontman and a major part of why "Dimension Hatröss" is as unique as it is. The sci-fi lyrics (which is a continued story from the preceding releases) and imagery of the preceding releases are continued on this album.

While every track on the album deserves to be mentioned as a highlight, "Tribal Convictions" is a song which deserves a mention as a standout track. Predominantly because it´s one of the most easily accessible tracks on "Dimension Hatröss" (...an by no means does it mean that it´s not a technical and challenging song), but also because Voivod opted to shoot a promotional video for that particular track, which helped them gain more attention. I always felt that the chorus to "Macrosolutions to Megaproblems" was quite catchy too, but again all songs are high quality material which strike the perfect balance between energetic and raw thrash/heavy metal and more technical and sophisticated progressive metal. In terms of understanding and discovering Voivod (if you haven´t listened to them before), "Dimension Hatröss" is probably the quintessential release by the band. A 5 star (100%) rating is deserved.

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