Register Forgot login?

© 2002-2020
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Officers are dirtier than the criminals they chase - 80%

6CORPSE6GRINDER6, June 30th, 2017

This band was so important for the thrash metal revival, I'd even say it's one of the best ones of the movement. This debut EP isn't their best record but it shows a very well defined concept and attitude, they are all about the old school. At first glance you can hear 2 main influences: Brazilian thrash, super fast and aggressive like Sepultura and the American style like Vio-lence, with a hint of crossover. The vocal style is mid-ranged, not extremely raspy but not clean either; just spitting the words very fast and angry. Lyrically they follow the same tendency, rebellious and political, while leaving room for thrash praise.

The riffing is pretty solid, and the songwriting is dynamic, in an old school context. They repeat themes enough times to make them memorable but there are also interesting bridges everywhere and arrangements that keep the music intense. Generally, riffs are introduced by guitars, drums and bass at the first mark and count a couple of bars and then the whole band kicks in. There are mid tempo breaks too, but mostly they rely on the “tupa tupa” beat, which they play at fast tempos. Even if this isn't innovative at all, it definitely has some balls, which makes it relevant.

Production is OK, not world class but decent. There's a clear intention in the riffing and composition to be as old school as possible but the production doesn't sound that analog. Guitar distortions are sharp and heavy - they could be rawer but still have enough body to do the job. Bass guitar is present but gets lost in the mix at times, just following the guitar riffs. The sound of the drum kit isn't triggered, it sounds acoustic but I found them all little too compressed and flat. Not as natural as you would desire for an old school fashioned record. Overall I found this record pretty enjoyable, not mindblowing but a worthy listen for genre enthusiasts.

What kind of thrash? Why, the violating kind! - 83%

hells_unicorn, December 21st, 2013

It's long been pontificated upon ad nauseam that the thrash revival of the 2000s offers little new to the table, save all the new songs that weren't written when the style was unceremoniously subjected to a premature death in the early 90s due to an odd fetish the media had for multiplying Grunge bands beyond necessity. Far be it for me to subject the reader of this review to yet another diatribe as to why the 90s mainstream (excluding the extreme metal underground, for those who insist that death metal and black metal happened as if I didn't already know that), but it is a profitable thing to mention in light of where much of the early contributors to this grand rebirth came from, namely the fine land of Brazil that provided us all with the likes of Sarcofago and Sepultura.

Granted, the largely heralded Violator got their act together a bit later than Bywar and the similarly styled American act Nocturnal Fear, but 2004 is still pretty early in the game when compared with a lot of the younger crowd currently dominating the scene and annoying those cynical types derided in Evildead's song by the same name more than a decade before this EP was recorded. But for all the insistence that we need not have a boatload of bands sounding the same, it should be thus considered that Violator didn't begin their days aping one band, and to this day don't really do that. Yes, they are a band built out of paying homage to the high octane glory days of late 80s Bay Area thrash, as opposed to a slightly greater number that are stuck on the crossover simplicity embodied in Municipal Waste or pay homage to the 3 great kings of Germany the way their fellow countrymen Bywar have elected to.

But where does that leave things insofar as this band's first EP "Violent Mosh" goes? Well, for starters, it lives up to its name something fierce. It largely takes cues from the rapid paced chugging and galloping craze of later 80s Exodus, but exaggerates them almost to the point of making Jon Schaffer raise an eyebrow, and repeatedly hits the listener's ears with a barrage of violent thrash beats that are as unrelenting as they are precise. It has all the cleanness and punch of a James Hetfield inspired affair, but thankfully the one area where things take on a more original flavor is the vocal assault, which sees something much closer to Death Angel than yet another Hetfield meets Chuck Billy emulation (which was already a widely imitated style before the close of the 80s). Musically it could be likened to the constancy of early Evile, but with a slightly nimbler character and an even more one-dimensional character.

Having said all of this, a lone Persian flaw tends to haunt this otherwise splendid debut by an obviously young and hungry pack of thrashing wolves. To be fair, being a one-trick pony is a staple of the thrash style, but "Violent Mosh" is definitely fixated with moshing and tends to cater to this more than anything else. The riffs are always on at full speed, but it's difficult to listen to this all the way through without losing one's place. The obligatory solos don't really help matters much as a consistent and very much competent nod to early Kirk Hammett with maybe an occasional hint of Bobby Gustafson makes a lot of time for shredding and very little for melodic markers. Nevertheless, every song on here definitely takes the head clear off the shoulders of anyone who lets the violation all the way in, though recalling them afterward may be a challenge.

So yes, originality isn't the priority here, and I don't think have to mention that originality can often cost a band in the quality department if left unchecked. With a great many bands out there to choose from, it's a foregone conclusion that one will need to have priorities, and if your priorities lay somewhere other than old school 80s Bay Area madness with no accounting for subtlety, there are other areas in the thrash world that cater to a more nuanced listener. But how good an album doesn't necessarily terminate on how many twists it has, but often in whether or not it will twist your body out of shape while in the pit, and Violator has definitely had that department covered since day one. Chug-a-lug and chug a few riffs while you're at it, then call the chiropractor the next day if moderation go by the wayside.

Pretty strong EP - 89%

imqa, September 6th, 2012

This EP from Violator is a pretty useful example for people with interest in thrash or people who are avid fans of thrash who haven't really known what 21st century thrash metal sounds like. Despite the fact that this band does not reinvent the wheel in any way or create a unique way to digest thrash, this EP definitely demonstrates the potential and strength that the brazilian thrash scene has.

The song "Thrash Maniacs" is quite possibly the most famous song from this EP and probably the most recognizable violator song so far, with good reason. The fast riffing, the crushing drums and the spitfire vocals really enrich this track with a trademark thrash metal sound. The bass is not inaudible in this EP but it is not exactly the most prominent instrument present. Nevertheless, it keeps the sound as a whole in a well-aimed approach. "Artillery Attack" and "Let The Violation Begin" both also prove to be quite infectious songs. As far as the drumming goes, I'd say that it is pretty damn solid as a whole. Pedro's screams also provide more energy to the overall experience.

The complaints I have regarding this EP are few but still sort of significant. The production is decent and there can definitely be some improvement in that area. Even though it doesn't ruin the overall sound of the EP, the lyrical content could definitely be more impressive but then again it doesn't exactly make it less enjoyable. Certain songs do drag on though, which can create some boredom from the fan. In many ways, it's almost as if you have to be in an optimal thrash mood to listen to this.

In conclusion: A pretty damn strong thrash release.

Let the violation begin! - 92%

Deathcoreisnotmetal, August 19th, 2010

As I’m sure we’ve all heard by now, the new wave of thrash bands are making quite the name for themselves, with Bay area bands like Fueled by Fire, and Bonded by Blood, and Cruelty from Germany, and now Violator from Brazil. It seems for the most part the NWOTM (New Wave of Thrash Metal) is coming along quite well. There are a few exceptions of young bands just coming in and rehashing the sound of prominent thrash bands like Exodus, Slayer, Testament, and more. Having that it my mind, I was skeptical when I first listened to this EP. Would this band be another “worship” band, or something that would be actually worth listening to? I am happy to say the result is the latter.

While you can clearly hear the strong influence of Slayer, they’ve taken that inspiration and made it into something of their own. What this basically means is that they’ve taken the sound of mid-Slayer like Divine Intervention and Seasons in the Abyss, and mixed it with Brazilian thrash. They didn’t just create another sound-alike, they improved on the sound. While this may not sound like something too innovative, it truly is. But I mean honestly, how many thrash bands can truly say their sound is original?

While this album isn’t perfect, it’s still a damn good release for a band’s first release. For a band to create such a good sounding thrash album in this day and age, while not rare anymore, is still something to be very thankful for. Every song is pure old-school thrash, which, at the end of the day isn’t that what we all want? A kick ass band that brings back the sound from the 80’s but doesn’t copy it. The songs don’t differ very much in speed, as they’re all full force tremolo picking throughout, but it still gives a great variety of sound.

My only complaints with the release are that it is too short, and the solos aren’t anything special. They’re just the same old fast solos. I’m not saying they were annoying or bad, but that was the one part of the EP that wasn’t really capitalized on. Which isn’t a terrible thing, it would just be nice to hear a halfway melodic solo. Deicide, in my opinion, has the best sounding, non sweep, solo in metal on Homage for Satan. No, it’s not the fastest, or the hardest to play, but it just sounds good. Hopefully, Violator can achieve something close to this in the future. They definitely have the capability to do so. If you ever come across this release, it is, without a doubt, worth the money. I’m not fond of EP’s as they cost more per song than a regular full length album, but this EP is most definitely worth it.

Generic in the best possible way! - 74%

Ayeka, June 21st, 2005

I'm sure everyone is familiar with 'filler' kind of bands, the ones that stick to a tried-and-tested formula of a particular sub-genre and nothing more. If you're a big fan of that genre, you will have your favourites, probably the big-name bands from that style. Then you will probably have lots of little bands you listen to every so often, just to hear more of the same. Violator are one of these 'filler' bands for Thrash Metal. Let's set this straight, these guys are not original by any means. What are they, then? Heavy. As. F**k!

Each song on this six track EP is traditional Thrash in every sense of the word. Not resoundingly fast like Slayer, not particularly technical like Megadeth, but comfortably similar to every other band that combines rapid fire and 'chug chug' Thrash riffing in each and every song. No feeble acoustic intros or mosh breakdowns, no pretentions of any kind. Just honest heavy riffing with rip-roaring solos and non-stop headbanging.

I did notice that the singer reminds me a lot of the guy from Death Angel, and you've got Vio-Lence style gang backing vocals that everyone loves. You even get some pretty catchy shoutalong choruses, like on “The Plague Never Dies”. The vocalist also gives us the best moment on the entire EP. Like the "uh!" on Iron Maiden's “Innocent Exile” or the giggling pumpkins on Helloween's “Future World” - when he belts out "THRASH!!!" as the second song “Thrash Maniacs” gets underway you instantly fall in love with these guys. Those are the kind of moments that just make an album.

It's generic, yes. But if you're a comfortable fan of a certain style, and your 'generic' is done very well, what's the problem? Give these guys some credit, at least they don't suck!

- originally written for Metal Monk webzine

Thrash maniax - 89%

cyclone, April 7th, 2005

FUCKING FUCK, what's this? 2004? You have to be kiddin' me... These guys look and sound like they came from 1987 Bay Area with a time machine. Tight pants, denims with patches and their little EP all show how very much are these guys influenced by 80s thrash scene. I don't know much more about them, except that they are from Brazil and that they are one of the rare new bands that play 80s influenced thrash metal.

Their music is something like a bit less chaotic Vio-Lence, with lots of triplet riffs, breaks and gang vocals. The vocalist hasn't got much range, but he's OK for the style they play. The gang shouting in the choruses fits in great. More bands should do that, really. Guitarists are the best part of this band. Great thrash riffs on steroids. The riffs are usually fast and effective, with the obligatory slow breaks and nice, but simple solos. Drumming is actually quite diverse and good, if sometimes a tad bit sloppy. The lyrics are OK and oh yeah, vocalist actually shouts ''THRASH'' couple of times. Can it be any better?

The best song on here is The Plague Never Dies with that great descending riff, incredible speed, catchy chorus and an AWESOME thrash break somewhere in the middle.

There are some rays of hope for thrash metal. One of them is definitely Violator. Be on watch for these guys in the future, I'm sure there is many more yet to come.

Brazilian Bay Area Thrash Onslaught - 92%

FLDeathMetal331, November 30th, 2004

Wow is all I can say after listening to this EP. This band sounds like a mix of Vio-lence, Exodus, and a little Death Angel, they're definately influenced by some great Bay Area thrash. They're sound is classic, fast, and will make you want to commit random acts of violence.

Track one starts off with that classic, fast thrash sound and doesn't look back, and the whole record is like this. The solos on this album sound like Kirk Hammet lended a hand in playing them, as they have those flashy face-melting licks and phrases that Kirk is known for playing. The only thing I don't like about this release is that the volume on the bass drum could've been louder, but hey, it's an EP.

Fans of old-school Bay-Area thrash, or any thrash fan period should pick this bad boy up.


znthrasher, November 29th, 2004

One of the best bands in this thrash metal revival, this band from Brazil took back the thrash metal in "bay area" style (different of what the most bands in Europe are doing - black-thrash stuff ) with Arcanjo's voice souding like Robert Gonella of the german band Assassin in "Interstellar Experience" times.
Going to the music, we find great songs, starting with "Let the Violation Begin", with a riff a la Exodus and excelent guitar works of Pedro Dias and Juan Lerda, doing solos where we listen their influences of Kirk Hammet (Metallica) and Phil Dammel (Vio-lence). It is a constant in the rest of this EP.
Following, we have "Thrash Maniacs", a song who is ready to be a "hit" for bangers in general, with this title there is nothing more to say, just thrasher.
We have more two songs, "Artillery Attack" and, in my opinion the best, "The Plague Never Dies".
Well, the bonus tracks ("Shadow Of Death" and "Killer Instinct") are more older than the rest of this EP, but are pretty cool too, "Killer instinct" one of the first songs in their career.
Well, for who is a old-school thrasher, this album is essential. The drummer David Araya knows how to play the thrash-banger beat !!!
If you never listen to this, do it now!!