I say it all the time but it’s worth saying again – 20 Buck Spin has been killing it in the last few years. Quality release after quality release and always full of spite, big riffs and delicious nastiness.

It’s been 4 years since Terminal Nations’s last full length- Holocene Extreme which, in my review I described as thus :-” This mix of big beat Hardcore punk and grindcore is the sound of a tear gas canister being scooped up and lobbed back, the sound of a bare fist against a Kevlar riot shield.”  Terminal Nation like to dissect the world and tell us where they feel we are going wrong. They will make you listen to.  

Things have not changed. The album opens with the title track with an old school Universal monsters style creepy cinematic intro before vocalist Stan Liszewski pronounces the title before the a gnarly phlegm forming, pus filled “Euuuughhh” which seems to be pretty on trend in a lot of “core” genres at the mo. I am not saying this as some Glen Benton boomer reaction. It is a trend that I am all over – it makes me grimace in a good way and prepare for big riffs and all hell to break loose. Which is exactly what happens. Stan’s vocals are on point throughout the album alongside extras from bassist Chase Turner who adds in some Jeff Walker higher pitched stylings to counterbalance his dirty low ends.  

Talking of vocals and again something that seems to be happening more on recent badass releases we have a bunch of cameos on this album.  

First up Todd Jones of Nails adds his pipes to the chunky “Written By the Victor”. Filled with nasty mosh parts, chunky mid paced death riffs, a little spoken word part which focuses the mind on how “truth” is created and serves as preparation for a nasty return to the maelstrom.  

Zak Vargas from the now defunct Elysia hops on to spit on “The Spikes Under the Bridge” which sees Dalton Rail and Tommy Robinson (not that one – he is Stephen Yaxley remember) lay down some old school Swedeath riffs. 

Terminal Nation wear their black flags on their sleeves and none more so than on “No Reform (New Slave Patrol)“ There is no reform for the murder of children. No amount of training curbs a killers appetites”. This lyric hits hard then drops into a big breakdown “Fuck . Every Cop That’s ever Fucking Lived!”. OK it may be lacking nuance and balance but with scenes coming out of the stats today of student protesters being assaulted by police it is plain to see how some – if not many people feel about the current state of those charged to protect.  

Empire in Decay is a chunky stomper led by Chase Davis pounding drums – it seems to mix modern Harms Way with The Haunted. After slowing into a metallic chant it goes a lil Metallica with a melodic instrumental outro with a pretty Kirk Hammetesque solo. I was surprised but in a good way. Some nostalgic feels for us old fellas.  

The single is next and features a collaboration that may be a shock to some. Jess Leach of KSE lends his soaring voice to “Merchants of Bloodshed”. Before he joins I get Gorerotted vibes from the dual nasty vocals – the chorus has that catchy yet nasty vibe that the UK tool swingers were (in)famous for.  There are a few more trends here – a slow down chug into spoken word through loud speaker into beatdown. Tropes are there in music coz they create a vibe and appeal to the fans – however much they piss off the Gen Xers. A quick change into atmospheric organ and Jesse unleashes.  It works. My kvlt mind says it shouldn’t and I should run away blasting Obituary but I find myself embracing these bastards.  On cue there is another foul and beautiful “Eeeeughhh” in “Bullet for a Stone” followed by a doomy riff which is even filthier. I need a shower and a dermatologic scrape after this.  “Dying Alive that follows does not help with this cleanse. More nasty but faster riffs rush past before an old school Doomy last section. 

Another cameo next from Sex Prisoner’s K. Kennedy. “Cemetery of Imposters” (I think they are no more). HIs angry dog like bark hits hard mixed with Stan’s low growls.  K just sounds so fucking pissed – proper neck straining hardcore vocals and the reload clunk click of a shotgun midway just increases the impact. It’s short but sweaty at 2 mins 19 and penultimate brute “Immolation (Of Mother Earth) “ is a death mosh political broadcast for the Green Party.  The final track is also the final guest appearance – David or Dwid Hellion of Integrity “Release the Serpents”.   

I’ll be honest I am not a fan of his vocal style and it took something away from the track for me – personal preference and the music is on point. A risk with as many guest appearances is that folks may not jam on each and every one.  

This takes nothing away from the album that which is great from start to finish. It’s angry, purposeful and direct whilst layering on some great guitar licks, solos and atmosphere. Feels like Crass went heavy.  

(8.5/10 Matt Mason)

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https://20buckspin.bandcamp.com/album/echoes-of-the-devils-den