Humanicide - Death Angel

Loyal to the packed

Humanity should probably make sure to kill himself, but you can as well help them a little on the way. On the Humanicide makes Death Angel, what they do best – and what they eventually do better than their statesmen: thrasher game and violently. To all thrashfans, which is anxious by Death Angels albums due to the frequent experiments with the more radio friendly genres, I put joy the head on the block for the group's latest release. If you are one of the lucky ones who need to Aalborg Rock and Metal Festival, so do yourself a big favor and listen to Humanicide.

Expectations for menneskemord

There is so much talk about "The Big Four", that you can't find the other thrash artists, unless you're looking for them. But in '82 were Death Angel of some guys in 12-15 years, and their debut album from '88, The Ultra-Violence, considered as definitely for a Bay Area thrash classic. Since then followed a career with eight albums and a break of ten years (five of them as The Organization), where the group and to have worked, as if they would rather play anything other than thrash (on Relentless Retribution , for example). The Evil Divide from 2016 on the other hand was a fine thrash album, which provides the increased expectations – and aspirations – to Humanicide.

Thrown to the wolves

Apart from a melodic intro with more guitarspor than The Blackening cuts Cavestany and Aguilar otherwise through the first of many Bay Area riffs. When Sisson (bass) and Carroll (drums) joins them, it is clear that the Death Angel has come not to play Trivium – fortunately. Osegueda behind the microphone to bring his most carefully afpissede thrash-game to the table, and the sounds still much like he did on The Art of Dying (let's be honest – his technique was unpolished on The Ultra-Violence). Opening, title track and lead single "Humanicide" is so true californian thrash, which you can find in 2019, and any fan of thrash metal should sporenstregs scroll down, turn up, and listen to.

Along the way on the album brings the group a glimpse of inspirations from the outside. "Divine Defector" opens with a tremolo-game hovedriff that sounds halfway inspired by the melodic black metal, and Oseguedas scream of "holy waaaaar!" would make even Gandhi to start a nuclear program. "Aggressor" is another winner, which again borrows a hint from the black metal qua verse moltonede chromaticism – and so is the solo great. Each of Oseguedas lines nods in the direction of the power-thrash; specifically, his half-melodic scream in the chorus of "Alive and Screaming" and a short passage in "Of Rats and men", shows that he basically could take a stint in Iced Earth. But the album out, there is a clear and obvious focus on thrashe hard and true, and no one can say that Death Angel is undersized.

Between the thrash songwriting sticks individual songs out, as it is the rule rather than the exception on the Death Angels albums. "I Came for Blood" makes it on the good way with a windy speed-riff and a chorus that goes after the throat. "Immortal Behated" sets the pace down and creates a sizzling, above the boiling atmosphere, which I do not know whether I am a supporter of. In turn, I am also a big supporter of the one and a half minute-long piano outro; and then on a thrash album. The world no longer stands. However, there is one song I could have done without: the Penultimate "Revelation Song" is not bad as such, but provides the association with Guns'n'Roses. I would like to say that it's probably just me, but the solos sound like conscious tributes to the Slash. Strangely enough, I am big fan of Cavestany and Aguilars leads on the album, but I now prefer thrash forward for the Slash.


>> Check the songs and lyrics here