They’re Norwegian, but they don’t play black metal, even though they boast the talents of Emperor’s old drummer. For Blood Tsunami, thrash metal is the order of the day (their debut was called Thrash Metal, for Pete’s sake). But they’re far removed from the trendy, throw-back, image-based thrash scene.
Instead, they perform well-played thrash metal that references bands like Testament and Kreator (frontman Pete Evil’s vocal chords actually resonate a similar raspiness to that of Kreator vocalist Mille Petrozza’s proto-black metal screams). Another likely influence is Slayer, particularly that band’s mid-paced South of Heaven era with it’s catchy and simple repetitive riffs and similar guitar tone. There are times, however, when such Slayeresque movements sound too polished, in terms of production and performance, holding back what would otherwise be more aggressive thrashing climaxes.
Blood Tsunami has studied from thrash’s Bible, but few could accuse them of being orthodox in their application of its tenets, with a modern metal aesthetic permeating the release. Death thrash stabs forth in “Laid to Waste,” and chilling black metal riffing emerges midway through “Personal Exorcism.” And during the chorus of “Castle of Skulls,” the triumphant Scandinavian death ’n roll hammer drops, as it does at several points throughout Grand Feast for Vultures.
They clearly aren’t seeking radio-success, as only one of the release’s seven tracks doesn’t exceed five minutes in length. Where the subtly entitled long player “Godbeater,” from their debut, focused on a main, grooving thrash riff, Grand Feast for Vultures boasts two excellent extended tracks, including “Eceladus Rising,” an instrumental song focusing on inspirational Maiden-like melodies filled with two-part harmonies and jam sections highlighting Faust’s tastefully nuanced style. Indeed, Faust puts in the best performance of his career thus far on Grand Feast for Vultures.
Simply put: Modern thrash at its finest.
(released May 5, 2009 on Candlelight Records)
