Let the World Burn

So, this is Vio-lence's long-awaited comeback EP, after original guitarist Phil Demmel finally jumped off Robb Flynn's sinking ship and started focusing on making quality music once again. This was as bumpy as a reunion can ever get, with many different problems getting in the way of these guys: a first attempt was made back in the early 2000's, but it was pretty much over the very moment Phil joined Machine Head and Flynn forbade him from playing in any other band; then, in more recent years, legendary vocalist Sean Killian had to go through liver transplant due to stage-4 cirrhosis, but luckily enough, everything worked out well for him in the end. So, by early 2022, the wait was over: "Let the World Burn" was finally released, and I have to say, it's a pretty fucking good comeback. Not the motherfucking, apocalyptic riff-fest that "Eternal Nightmare" was, of course - but still, it's got some legit awesome moments.

Of course, as it's the case with most post-2000 comebacks from the genre's pioneers, any hypothetical non-thrash influence embraced during the 90's (in this case, with 1993's "Nothing to Gain") is entirely bypassed and forgotten in favour of a fairly streamlined "back-to-basics" approach which in most cases would correspond with a total standardization of the band's sound in a boring paint-by-numbers form - a scenario that's thankfully avoided for the most part on "Let the World Burn", by means of sheer riff prowess at the hands of Phil Demmel and former Overkill guitarist Bobby Gustafson (of all people!) replacing a burnt-out, uninterested Flynn. Truth be told, when first single "Flesh from Bone" came out, I wasn't very impressed: the execution felt kind of wooden and restrained compared to the unhinged insanity of the band's glorious first two albums, and the riffing wasn't very impressive, not sounding bad in the slightest but also totally forgettable and undistinguishable from countless other thrash records being released nowadays. After hearing this song, I was expecting an utterly lukewarm, inoffensive comeback - but luckily enough, "Let the World Burn" still had some welcome surprises in store for the old school thrasher inside me.

Second track "Screaming Always" caught me off guard with some truly stellar galloping triplets played at breakneck speed, making it my favorite song off the EP by default: this is exactly the kind of shit I'm craving on a classic thrash metal record. The title-track is a total winner as well, thanks to a relentless, multifaceted riff-set that finally approaches the levels of madness experienced on "Eternal Nightmare", and a totally KILLER chorus showing Vio-lence going full-throttle on us once again at last; similar to many tracks from the latest Razor album, this song knows how to work some subtle amount of melody in its lightspeed riffage, leading up to the chorus in a way that emphasizes its ultimate weight and gravitas. Traces of classy leads can be found during the mid-section of "Screaming Always" and various points from "Upon Their Cross", the latter especially made much more interesting by the psychedelic touches being worked in what would otherwise be some fairly stale mid-paced riffing - showing that perhaps the band hasn't entirely forgotten the lessons learned from their softer, more somber work "Nothing to Gain". However, it could be said as a general rule that the faster these songs go, the more they tend to shine in sheer riff power: "Gato negro" is another song that tends to sound more interesting during its more unhinged sections, compared to the classic Bay Area mid-tempos which make the main bulk of its verses. It seems like this band always feels more at home in a context of utter madness, as opposed to more structured stylistic environments - which brings us to the next point of the review: Sean Killian's vocal performance.

Yeah, of course we have to talk about this, being pretty much the elephant in the room on any Vio-lence release: after more than thirty years, Killian's manic, near-demented vocal style remains a love-or-hate affair, igniting countless discussions and disputes in a similar way to Souza-vs-Dukes feuds amongst Exodus fans. I've always stood proudly on the "love" side of the fence, and things are no different on this comeback: Killian's vocals on songs like "Screaming Always" or the title-track still sound as mental as ever, despite a slight decline in pitch compared to the early days; also, it's clear the guy revels in the more "unrestrained" parts of the songs, while he shows some slight trouble in interpreting the more "controlled" parts (I mean, those requiring a more rigid, cadenced metric such as "Flesh from Bone" or "Upon Their Cross") with enough conviction, energy and spontaneity, as if he doesn't feel in his own skin during those moments - and the amount of these slightly more rigid sections throughout this EP doesn't seem to work in his favor (proving once again the point I was making at the end of the last paragraph, about Vio-lence's natural inclination towards unrestrained madness). Another minor nitpick of mine is the half-spoken/half-rapped (!) interlude on "Screaming Always", which I'm sure we all could have done without. Aside from these small complaints, Killian remains the perfect antidote to the overly standardized extreme vocal techniques of today, and his presence in the metal scene has been sorely missed for years and years. It amuses me to see the reaction of modern Will Ramos-loving deathcore kids to Killian's one-of-a-kind vocal style, coming straight out of a time when metal vocals were something deeply personal and driven by sheer individual instinct, never to be standardized in a boring one-size-fits-all formula everyone was so eager to replicate.

All in all, "Let the World Burn" is a rather successful comeback for these Bay Area legends. Some songs are definitely better than others, and as it's often the case with modern metal releases, the lead single is sadly the least impressive track on the record - however, the highlights still show Vio-lence at the top of their game, and are enough to make this EP worth checking out. I hope I'm going to hear a new full-length album by these crazy thrashers sooner than later, even though this lineup has already collapsed and any replacement is yet to be announced by the remaining members. Problems never seem to end for the Vio-lence reunion - however, one can still hope.

Oh, and once again: fuck Robb Flynn.

Finally, Vio-Lence are back with a vengeance! Everyone's favorite Bay Area thrash band has been away from the thrash scene for more than 25 years, but they finally made the decision to return. Their debut in my mind is still the greatest thrash metal record ever in the history of this Universe, except Reign in Blood exists. If there was no Reign in Blood, Eternal Nightmare would be #1 by far. That should give you an idea about how big of an impact this band had on me, and how their mentally demented and paranoid approach to thrash metal captivated me. Their return, "Let the World Burn" really doesn't disappoint. Vio-Lence nailed it to the fucking cross, ala Destruction.

The style of the album is... Exactly the same as Vio-Lence's old records! Here's another band that didn't start playing idiotic slimy shit or softened up over the years. As you put on the record, "Flesh From Bone" immediately assures you that this won't be no departure from their old self, but a return to it. The same type of "paranoid thrash" (as I like to call it, because of Sean's demented vocals) that we heard on Oppressing the Masses and Eternal Nightmare starts to flow through the speakers, and that's exactly what we, fanatics of this band wanted. Vio-Lence should NOT ever change their style, and thankfully they understood that.

As for the songwriting, like the style, it is fairly similar to the songwriting on the band's first two releases. The riffs are just as gripping and biting as they were in the early days, and they have the same mentally lost, vicious, ripping, aggressive vibe to them, so do the leads. The two guitarists have an abundance of shred-offs, showing some very impressive technical advancement for a thrash metal band. Good examples to that are the middle solo section of "Upon Their Cross", and the solo in the title song. The main riff of the title song is very reminiscent of a certain part of "Phobophobia", but it's forgivable, since the context and tempo are different, so if you aren't super into Eternal Nightmare, you probably won't notice it anyway.

Perry Strickland's unique percussion style remained the same, and with the new, modern sound, his one of a kind approach really shines through. His fills and double-bass rhythm sections are more audible than ever, while he didn't weaken one bit. He's still that brutally fast, pedal to the metal maniac he was back in the day. Finally, let's not forget Christian Olde Wolbers, whose bass lines are perfectly present, thanks to the excellent production. His tone is very deep, and his linear bass lines back up the riffs excellently.

Let's highlight Sean Killian's unbelievable lyrical work, something that might be the best so far during his career. His lyrics were always among the very best in the entire genre, but the shit you hear on this EP are really mind-bending. For example, check out the following from "Flesh From Bone":

"Screaming in the dying face of my prey
Blood bath I bathe in it for more than a day
Slaughter love, slaughter hate, slaughter all who survive
Towers of flames reflecting my hell in their eyes"

Truly dark, brutal and extremely horrific lyrics from the single greatest thrash vocalist that ever walked the face of this Earth, and I hope he never stops bringing more and more insane visions and hellish portraits to life in Vio-Lence's brutal and captivating music.

Vio-Lence's "Let the World Burn" is very much a continuation of their old works. Their song structures and approach are nearly the same as what they used to be in the 80s. This is not a problem at all. The guys came up with a lot of new, original material that's still very true to the band's name, and nearly as vicious and ignorant as their early records. It's been a long while since a thrash record this strong came out, and if you will buy just one thrash album from 2022, you now know what I think should be the one you pick up, among the sea of average and indifferent, monotone thrash offerings.

Back with a ven-geance? Or with a vio-lence? Or with both… rather with both as we have the three dinosaurs, namely Sean Killian (vocals), Phil Demmel (guitars) and Perry Strickland (drums), from the olden times gotten together again, this time unleashing a brand-new material. Nope, no reminiscences from the past anymore (remember the “…They Just Keep Killing” EP from ten years back), the vio-lent legend is alive, strengthened by the addition of none other than the Overkill maverick Bobby Gustafson.

Should we expect another eternal nightmare, folks? Yep, sure, and "Flesh from Bone" promises exactly that, intense albeit sophisticated mosh leaving a sizeable group of sprained necks behind, before "Screaming Always" paints the canvas with a more technical but still overtly hyper-active approach, a possible, unjustly buried secret from the “Eternal Nightmare” recording sessions. An unmitigated semi-modern update with "Upon Their Cross", another dynamic proposition served with a more optimistic near-crossover clout, the latter dispersed by the brisk sizzling old school rifforamas marking "Gato Negro", the fervent thrash engine used for its sculpting running on full-throttle, the admirable musical showdown dexterously supervised by Killian’s attached, openly confrontational at times, tirades.

Yes, the world does need violence and nightmares, this peaceful idyllic existence is near-unbearable, and this hardened Bay-Area batch are rushing to provide those for us. There’s a lot to gain from this wake-up call, cause this is the only way we should interpret these 25-min of classic thrash mayhem, the band hopefully warming up for another full-length audition with the scene. Killian and Co. stick to their roots, bypassing the modern groovy experimentations/flirtations from their third instalment, full of new-found vigour and confidence. It’s their turf, it’s their area of expertise, surprises are not to be expected… we’ll let the world burn, also knowing full well that there’s no end to this recurring omnipresent, ever-lurking nightmare cycle.

OH YES

They are back, and they have captured the spirit of their first two records very successfully. Many good riffs here, vocals seemingly unhampered by time, and a good drum attack make this a very satisfying release.

Vio-lence still have that frantic, early Exodus meets early Slayer energy, with only a spattering of new musical exploration (mainly some spoken word stuff ... who would've thought it's a good idea to give Killian MORE emphasis?). Demmel still can write great guitar riffs and Perry Strickland does a good job. Strickland was my biggest worry before I heard this album because old thrash drummers often cant bring that some intensity anymore. Strickland delivers here but his tone and perhaps even digital editing has made him sound just like every other drummer instead of the cheat-beating percussion whirlwind that he sounded like back in the day. The guitar solos are good, but not as amazing as the other Bay Area thrash bands whose guitarists were tutored by Joe Satriani (Metallica, Testament, Exodus). Solos have never been really exceptional in Vio-lence's music, but they are usually pretty good and here they are of the same quality as they've always been.

Demmel says in interviews that he spent a lot of time getting all the aspects of this EP just right, and I believe it. There is a craftsmanship to this that reminds me of how exciting 80s thrash used to be.

What does it say about the current thrash scene that this EP by guys in their 50s is so much stronger than any of the hundred of thrash albums released in recent years? It's not about speed, or money spent in the studio, or technical playing ability. Vio-lence just pay closer attention to their songs in general: the arrangements, what notes they play and don't play, and the tone of the instruments.

The title track is the strongest song here, and should've been the first track. It's a hard song to deny, and should silence all the doubters.

Bobby Gustafson's presence is hardly felt at all, for being such a legendary thrash guitarist (save for a few brief leads). Maybe more of his style will show up on a full-length album when they need more songs.

Sean Killian may not have singing ability per se, but he does have charisma, a unique lyrical stance, and the ability to craft vocal hooks. It just wouldn't be Vio-lence without him, there is no two ways about it. His vocals here are tucked into the mix very well, very audible but not overbearing like some mainstream-minded producers tend to make them.

OK, let's get to this production now. Thankfully the guitar tone is very good, and the bass tone is very good (despite losing Dean Dell in the bass position and getting the guy from Fear Factory). The drums however could definitely be better I think. I never wanted to hear a unique drummer like Perry Strickland with this generic typewriter-ish double bass tone. It is the single biggest negative aspect of this release. Hopefully this will be addressed before they record the inevitable full-length follow-up. The mastering sounds really top-notch though.

If you can't find anything to like here, you probably never liked or understood thrash metal in the first place. It's really that simple.

29 years after their last album, Vio-lence re-appear with five new songs. Is this step necessary? Absolutely not, because we have more than enough thrash formations today. Worse still, what about the authenticity of musicians who are responsible for this output? Do their hearts really beat in a thrash metal rhythm after this endless period of silence?

The fame of Vio-lence is mainly based on their strong debut and “Let the World Burn” will not change this situation. This is typical Bay Area thrash, technically precise, sharp and transparently produced. Nevertheless, the aha-effect remains absent, not the smallest “wow” comes over my lips. All songs walk on trodden paths (no problem so far), but they fail to present really thrilling sequences. Okay, there are exceptions to the rule. The atmospheric break in “Screaming Always” is a very fine intermezzo and the generic thrash guitar gives me a pretty good feeling. By the way, despite its almost rap-like a capella part, “Screaming Always” is my personal favorite, because it houses the best guitar lines. They lie in close proximity to those of the debut.

Sometimes the band nearly sounds like Suicidal Tendencies, especially due to the vocals of Sean Kilian, sometimes just like many, many other thrash bands with a less known name. Only worse. Vio-lence do not make great mistakes, but they also fail to implement an iota of enthusiasm in me. “Upon the Cross”, for instance, is a dragging number. Generally speaking, that’s okay. A slow tempo can be fine even when it comes to thrash. But this song lacks depth and heaviness. Compare it with “Nanking” (Exodus), to give just one example, and you will find significant differences in terms of cruelty and impact. On the other hand, it also does not possess the smooth flow of typical Testament mid-paced numbers like “More Than Meets the Eye”. That’s a pity. Even the opener “Flesh from Bone” disappoints, because its acceptable riffing ends in a pale, mediocre chorus and the same goes for the title track with its inappropriate break in its center.

All in all, maybe it was necessary for the musicians themselves to record and release new music, but I fear big parts of the scene will have a different point of view. I cannot ignore the lack of energy and the only low degree of musical vio-lence. Three members of the debut are on board and this justifies a re-union. To recruit Bobby Gustafson is also no bad idea, but there seems to be no juvenile savagery in these old (or: wise) guys anymore. Already the EP format indicates the only half-baked impulse for this release, which is definitely a worse nightmare than the one of the debut.