World in Decay

Among the unsung soldiers of the modern thrash scene, Fallen Angels are no doubt worthier than the almost total oblivion they fell into, after their split-up. After a more by-the-numbers debut, sophomore Engines of Oppression was a huge step ahead for the Seattle quintet, which displayed skills and confidence way above average. Their third and final work, World in Decay, saw the light of day in 2015, with however very little (if any) fanfare.

Well, the style isn't a far cry from their latest LP, but there are some differences. The production was actually the aspect that surprised me the most: considering Engines of Oppression's moderately raw sound, this one lies at the opposite end of the spectrum, being surely polished, yet sometimes unbalanced. "Bradzilla" Kennaugh's yelled vocals sound a bit too distant (even if it could be argued that they never were the main draw of the band anyway), and the drums rather sterile – but we also get a guitar tone unlikely to attract complains, and a loud, but not overly so, bass, on the upside. The addition of newcomer Matt Be Roth alongside founding member Erik Hansen brought also a greater emphasis on the leads, which were already impressive, and a more technical approach to songwriting overall. Just lend an ear to the highly inventive riff introducing opener 'The Hammer's Blow' to check for yourself what I mean. The spot-on half-melodic chorus, as well as the first of a long series of elaborate solos, immediately bless this track with the honor of possible MVP.

Nevertheless, most of the songs are cut from the same cloth, even if the constant quest for melody pursued by the guitars can sometimes be of detriment (i.e. the rather annoying chorus sequence of 'Nightmare'). Even then, 'Forsaken Existence', 'The Hour of Time' and especially central highlight 'Fire at Eden's Gate' (their titles are really something) deliver classy experiences, adorned with elegant acoustic sections. The second mentioned didn't host Kennaugh's most successful delivery, but the chorus riff really makes up for it. I'm afraid that not every track is as inspired, though. 'Into the Abyss' turned out to be a bit too poppy for the album's vibes, and closer 'Mortis Ex Machina' a bit too directionless after a truly amazing intro riff, but the nadir was probably 'Leading the Blind', a simpler groovy number which resulted quite unimaginative for such a technical band. Of course, all of them pick up steam with the solos, which are by and large the key moments in every song (the latter approaches two minutes of length, but also marks the end of the track). Hansen and Roth might sometimes get carried away with their lead moments, but the end result is often a win, to these ears.

Unfortunately, seeing as Engines of Oppression suffered from having only few all-around great songs (the title-track is still a personal must, to say), World in Decay doesn't end up being terribly different, although with a more original style. Its opener warrants several spins as well, though, along with a good half of the album – and if you're a sucker for long solos like me, these are 40 minutes you'll enjoy in spite of everything. A final act of strength against the tide.

P.S. – Anybody knows where are the two axemen hiding, nowadays?

-review written for the 11th Diamhea Memorial Review Challenge – may you rest in peace, Chris.