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MESSIAH
Christus Hypercubus

High Roller (2024)
Rating: 8.5/10

Swiss thrashers Messiah has been an underrated cult force since 1984, especially with their classic brace of 80s releases Hymn To Abramelin (1986) and Extreme Cold Weather (1987). Unfortunately, and like a lot of bands, Messiah succumbed to the 90s in spite of issuing a trio of solid albums during the early-mid period of said decade. Thankfully, they reformed in 2018 and two years later released an EP (Fatal Grotesque Symbols – Darken Universe) and a full-length (Fracmont), but sadly Messiah lost original frontman Andy Kaina in 2022, a year after he left the band.

Credit to them, Messiah marches on again, and are led by new voice Marcus Seebach who brings a vicious rasp to the bands death-thrash fusion. After 40 years on the scene, Messiah shows no signs of waning and with Christus Hypercubus deliver a crushing slab of metal that demands your attention with every sonic riff.

With such a battering there remain traces of the unorthodox, especially lyrically and in particular ‘Acid Fish’ as Messiah construct complex and engaging tales alongside their fierce arrangements. Unsurprisingly, new permanent axeman V.O. Pulver (Poltergeist) – having previously played live with the band – fits in seamlessly alongside fellow guitarist and band founder R.B. Bröggi and they excel themselves time and time again, most notably on the gargantuan ‘Soul Observatory’ with its lethal attacking, particularly in those guitars.

I admire how the band shifts between a black comedy to a genuine brooding atmosphere with both qualities coming to the fore with ‘Speed Sucker Romance’, while Messiah exudes energy and majesty with ‘The Venus Baroness’, a grandiose two-parter that begins with pace before veering into a slower menace.

Christus Hypercubus really is the darkest and most mature album within the band’s discography, even with those quirky, humorous nuances. All hail.

Neil Arnold

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