Raging Mob

The self-titled sole release from Chinese thrashers Raging Mob is certainly impressive enough to really help this one get off to a fine start had they chosen to stay together but is still a lasting part of the Asian thrash scene regardless.

It’s somewhat shocking this band never got more going for it as there’s a lot to really like with this one. The guitar-work is far more impressive than imagined here with a wide, far-reaching display that covers a lot of different styles here though the main style here is a tight, groove-filled chug. This produces a highly-energetic style of guitar work throughout this that keeps raging throughout here due to the high-speed pace the majority of the tracks are played at. This is mostly accomplished with a high-velocity sweeping arrangement to the grooves that allows for furious, energetic patterns to flow throughout this which really pack a huge punch when they utilize the tight, heavy crunch beforehand to segue into those segments. As this is the main focus on the guitar-work, there’s plenty of generous riffing through this throughout.

Along with the tight chugging, those sweeping rhythms that flow through here provide a lot to like. With these being far more frantic and intense segments packed into the track, the difference in energy compared to the steady grooves on display is quite dramatic with a fairly impressive air about it. It adds a slightly different dynamic by adding more rhythms into the effort rather than the tight, singular-note arrangements packed into the grooves which get the main focus on here and really packs a punch with the skill-set here to pull them off convincingly while keeping the speed and tempo up as well.

As well from the guitars, the rest of the band is certainly fine. The drumming is certainly a highlight with a wide variety of dramatic blasts and fills that are far more dynamic and impressive than expected throughout here with this getting a quality performance out of them. Whether its stylized chops to bring in the tight charging rhythms throughout here which really isn’t all that important compared to the blistering double-bass runs that it runs through with the tight raging grooves on display here which causes this to really explode with both speed and power by forcing rather heavy, dexterous patterns into the rhythms which causes this to really stand out during these segments. It also causes a rather fine old-school feeling when it blasts into these segments which breaks up the tight grooves and brings about more goodness in this one.

While this is certainly a fine effort overall, there’s still a few problems with this one. The first one is the fact that this one seems to run out of steam in terms of its tracks when it’s just getting going, really feeling like there should’ve been more on here. Since this is the only release for the band, this tends to leave it feeling more like a compilation of material rather than an album of original work since that leaves this feeling like a short, biting EP rather than a full-on original release as this really only has seven or eight original tracks, seeing as one is a cue lifted straight from a movie and then ending with two live tracks so there’s not a large amount of original material on display here to really get into this one. While what’s here is certainly fine, charging work overall, the fact that it doesn’t leave the impression of a compilation rather than a full-on original series of works makes this come off slightly down. Also, those live tracks at the end of this are wholly troubling since there’s no real reason to have them on here as they ruin the tone and feel of the original material by dropping everything for admittedly-energetic live renderings. They come from the same band which gives them their name so to have them only available live really tends to lose the importance they have in their legacy when it could’ve been just as easy to lay them down in the same session as the rest of the material here, and overall there’s not too much about these that really work.

The album itself isn’t all that bad and really has some good moments spread throughout. Instrumental intro ‘Re-Animator’ uses the familiar movie soundtrack cues and classical ambiance for a bouncy start to the assault. Proper first-track ‘Promisebreaker’ runs through charging rhythms with dynamic drumming, crunchy riffing and tight buzzing patterns with razor-wire leads charges through dynamic drumming and up-tempo riffing into a fiery solo section for a rather impressive effort. Short, blasting thrasher ‘Manifesto’ brings ferocious charging riff-work and intense drumming take the intense patterns along through the raging tempo that keeps the frantic rhythms throughout while delving into heavier patterns along the fiery solo section for the album’s overall best track. A close runner-up, ‘Slave to a Lie’ uses fiery leads and dynamic drumming along a raging tempo with tight chugging and heavy rhythms that fully blast through the pounding drum-work and scorching leads that carries on through the finale, bringing in strong back-to-back tracks in here. The dynamic ‘Rage’ starts with moody acoustic guitar strains and light melodies before opting for majestic, steady riffs with sprawling paces, mid-range tempos that kick in minor outbursts of energy before steadying on a simple groove with more explosive rhythms in the second half, providing an interesting experiment that scores quite well in merging the old-school influences with their groovier sections.

The second half to this is quite like the first but does feature those problematic final tracks. The furious instrumental ‘The Blessing of the Mob’ is all fiery, frantic grooves with dynamic leads and steady up-tempo pace throughout the varied sweeping rhythms with swirling, buzzing grooves and dexterous drumming exploding through the up-tempo, energetic rhythms, providing a dramatic highlight. ‘Residuals’ changes up with light bass-clanking and tight, furious grooves that take a steady mid-tempo pace through pounding rhythms and explosive up-tempo start/stop patterns to expand the groove into crunchy rhythms nonstop through the final half, rather wearing out its’ welcome with the longer rhythms but still being quite fun. The lower-key ‘Destroy Hate’ uses a light intro that gives way to tight chugging, explosive grooves and dexterous drumming rhythms throughout as the simple patterns carry on through the charging riffing into the solo section and fade through the light finale, getting better as it goes along but never offering much beyond that. The final two efforts are pretty worthless efforts, as the live cover of Assassin’s ‘Raging Mob’ keeps the energy alive while offering a tighter arrangement on the riff-work with a wild and enthusiastic crowd to partake in, but overall seems pointless as to its inclusion. Similarly, the other live Assassin cover, ‘Bushwackers,’ is highly energetic and fairly faithful to the original with a wild and enthusiastic crowd, but overall again seems pointless as to its inclusion and truly ending this on a confusing note.

When this is on, it’s one of the more impressive efforts in the Asian thrash scene and really gives a clue as to what could’ve been had this band been given more of a chance to do more with their legacy than this one somewhat-flawed effort. In the end, that’s really all this would be good for, hardcore Asian thrash aficionados as the other elements that crop up here might not be appreciated by all.