We all know that feeling of nostalgia when we listen to a band we enjoyed a few decades ago. Well, how about when they release something new, but it immediately falls short of expectations? Thankfully, that is not the case with the seventh album by this English thrash quartet, and their second release in four years.
The album opens with a sweet sounding lead guitar intro that fills out nicely as the rest of the instruments join in on “Behind The Walls Of Treachery”, but as soon as Dennis Gasser throws in a heady drum roll and Jay Walsh opens his mouth you know you’re listening to Xentrix, which is driven home by Jay and Kristian Havard’s guitar riffs and sound, with Chris Shires’s bass shining as it rumbles in the mix.
Next up is the rapidly delivered riff changes for the title track “Seven Words”, where Jay’s singing is just as quick, with a beautiful lead that is full and complements the song well.
“Spit Coin” is slightly slower, but the steady kick drum and thumping bass line shall definitely be rattling rib cages when played live.
Alternating between quick and mid-tempo, “The Altar of Nothing” is steered by the pace the snare is being pummelled, which has the guitars matching in rifftastic intensity.
Even if the song itself wasn’t any good, “Everybody Loves You When You’re Dead” would be great just by its title, however the song is fast paced, and the relentless bassline is a audiophiles delight as it keeps hooking you when the guitars fade out to restart their chugging riff. The lead break isn’t half bad either.
The guitars play through the chorus but are silent for the verses allowing the vocals to stand out over the drums and bass on “Reckless With A Smile”, before becoming a mellow chugging under the lead as the song fades out.
Jay’s vocals have a rather angry tone to them on “Ghost Tape Number 10”, while on “My War” they sound a little frustrated. Both songs are fast and aggressive, filled with drum rolls and gentle leads flowing alongside heavier rhythm riffing.
For “Kill And Protect” the choppy rhythm is accentuated by the drum tempo fluctuating to enhance the vocals on the song.
The acoustic guitar intro is joined by violins and sounds rather grandiose, but as soon as the distortion and drums join the fray, that’s when “Anything But The Truth” really gets going and it’s the sharp snare that emphasises Jay’s vocal cadence as he spits out the lyrics with acerbic venom.
They wrap up the album with a cover of the Alice Cooper song “Billion Dollar Babies” which is delivered with the fervour that they are renowned for when it comes to all their covers thus far, and there have been a few, with some far more famous than others.
Sadly for me, the most annoying thing is that they are currently on tour with one of my favourite Bay Area bands, and I shan’t get to see either as they appear to be avoiding this little island that wants to isolate itself from everyone else. Oh and Dan Goldsworthy’s artwork on the cover isn’t bad at all.
(8/10 Marco Gaminara)
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