Formed 18 years ago, this is the fourth full length album by the Polish duo of drummer and backing vocalist Pavulon and guitarist and vocalist Mihu, with session and live bassist Nechrist. Labelling themselves as Blackened Thrash Metal, I have to concur with this, as it does describe their sound rather well. The vocals have a Venom-like quality to their harsh delivery, while the music is fast and heavy thrash with the occasional blast and tremoloed lead.
A chunky guitar riff is joined by drums and a twanging bass before the vocals kick in for “Tunes of Black Contagion” to start the album off with a flourish, the meandering lead also works well being played much slower than the frenetic tempo behind it.
Keeping the pace well and truly breakneck for the verses, “Behind the Walls of Keough” slows for the chorus to enable the title to be chanted in a rather menacing manner.
The bass rumbles as it accompanies the constant kick drum triplets during “Rite of the Incubus”, but it sounds even better during the lead as it completely fills out the sound with the rhythm guitar being the more background instrument for a change.
The rolling drums and manically beaten snare are the signature sound for “Scorching Trauma”, as guitar riff tries to maintain the pace until the lead break races ahead.
The guitars have a groovier attack to them on “Meadow of Bizarre” as the rhythm riff repeats and the drums ebb and flow to allow the vocals to growl along sedately but rather nastily.
The song does its damnedest to convey the horror that was “Tuol Sleng”, and the buzz-saw lead sounds like screeching as the lyrics describe the atrocities.
“Pacifistic Carnage” is far more sedate in comparison, was the drums and guitars gallop along with the vocals being spat out at a steady pace.
Having slower feeling pieces alongside the manically played guitar riffs and frantic drum rolls gives “Angel Maker” a slight respite, which also makes the speed even more noticeable when it returns.
Going faster still, “Sinful Bonds of Blood” has the vocals being barked out rapidly as they try keep up with drums, which becomes far easier as the pace subsides before the lead solo lets rip.
While I may have told the editor that I had no idea who Arthur Brown is, within seconds of “Fire” starting, I knew exactly what the song was and was quickly singing along. Their version is substantially heavier, without needing to be much faster however, as the booming drum sound fills the speakers, with the familiar riff cutting through perfectly.
Fast songs delivered without unnecessary over production, as there is no need to soften the sound when you are attempting to be as abrasive as possible.
(8/10 Marco Gaminara)
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