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“Blah, Blah, Blah” with Thrashy Accompaniment - 83%

bayern, October 11th, 2017

The early 90’s saw the small thrash metal scene Down Under in turmoil with the leaders Mortal Sin surrendering to the groovy/post-thrashy trends with the divisive albeit not terribly bad “Every Dog Has Its Day”, with the other less significant contributors (Rampage, Nothing Sacred, Bezerker, Redeemer, etc.) proving just isolated one-album wonders in the best case scenario, with very few exceptions.

Our friends here appeared completely unannounced, but I want to believe that their small, but notable contribution to the field over here didn’t remain completely unaccounted for. Cause what we have here is some nicely executed classic thrash with bold technical strides the package also coming with a really clear sound. The overall delivery clings towards their compatriots Bezerker, but the musicianship is kind of bolder at times also siding with the German obscures Deztroyer and Entophyte.

“Titan” is an encompassing all-instrumental fiesta with sweeping speedy crescendos crossing swords with stylish technical escapades, this hyper-active dialogue lasting for nearly 6-min. “Chainsaw Rape” arrives with heavy stomping riffs, but the fast-paced carnival resumes on full-throttle before long the guys playing around with more elaborate arrangements which bring back more stomping heaviness, the two sides alternating all the way to the final hectic showdown. “Lamedent of Sir Belvedere” is a direct lashing speedster with a harsh spat out chorus, and “Brain Damage” even goes a notch up the aggression scale shooting a cannonade of brutal rifforamas bordering on proto-death. “12 Gauge Orchidectomy” carries on in a similar less bridled fashion with airy crossover elements added to a surprisingly hallucinogenic effect on top of no less striking virtuous lead duels. “Cuntspace” will desirably free plenty of space for all cunts around you, and hopefully the music won’t make them run away as this is a thought-out complex progressive thrasher with an alluring semi-balladic beginning before the speedy skirmishes arise literally out of nowhere, with both more straight-forward and more labyrinthine riffage appearing on regular intervals to participate in this impressive shredfest which covers a wide range of tempos and moods.

The vocalist is probably an unmitigated weakling with his not very rehearsed, hoarse semi-shouty timbre that simply doesn’t sit very well with the music, but he doesn’t interfere a lot leaving his comrades to do the talking for a larger portion of the time. The balance between the more technical and the more linear material could have been achieved better, with a more insistent alternation between these two aspects as now the beginning and the end are clearly the more serious sides of this effort, leaving the middle slightly lacking in ambition and execution.

No such films on the “Spawnography” EP three years later, the band having erased most of the defects from here, producing a handsome display of thrash mastery with all the expected technical tools of the trade. The time for such an exhibition was well chosen perhaps as the Australian metal circuit started showing more active signs of life with Addictive shooting their really cool sophomore a few years earlier, and the veterans Hobb’s Angel of Death reminding of themselves with a worthy second instalment the same year; not exactly indications of full awakening, but definitely needed sparkles of vitality during the static groovy landscape of the mid-90’s. The guys continued unperturbed by the ruling vogues, and shot two more demos (one not listed here) on which the delivery was simplified with an increased amount of direct bashing strokes. It was a game over for them soon after the band not surviving long enough to see the old school resurrection wave, and respectively become a part of it. But their “blahs” were well noted, and I’m sure are regularly re-vivisected… sorry, re-visited and also sought after by ardent metal connoisseurs.