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XENTRIX
Seven Words

Listenable (2022)
Rating: 7/10

In my opinion British thrashers Xentrix never quite mastered the art of the album cover, and their brand of Bay Area-styled crunch often failed to convince also. With Seven Words, the sixth full-length release from the band and their second since returning to the scene in 2013, once again boasts a generic cover but does rectify some of the faults which were apparent on 2019’s Bury The Pain.

Xentrix are still a traditional thrash act that remains tight and often potent as well as consistent, but that’s where the problem lies because for every slightly unpredictable chord or powerhouse segment there’s that air of the mediocre, and however hard they try they rarely tickle my taste buds.

Maybe it was always that rather forced and at times American-ised style which turned me off, and producer Andy Sneap, the former Sabbat guitarist, maintains that high level of polish. Jay Walsh, who replaced original frontman Chris Astley in 2017, does a commendable job again on what is essentially a no frills yet highly melodic thrash opus drenched in mid-tempo dynamics and memorable strands.

The likes of ‘Everybody Loves You When You’re Dead’ and ‘My War’ boast some fine melodious streaks, and every member, especially drummer Dennis Gasser, does a fine job, although the sparks are all too sporadic. Up-tempo thrasher ‘Ghost Tape Number 10’ has a nostalgic feel to its dynamics, while the title cut is exuberant and spicy, especially in its axe work, and I enjoy the riffs furthermore on ‘Anything But The Truth’ which builds very nicely.

However, Xentrix for the most part keeps to its tried and trusted formula of mid-tempo melodies never a world away from Bay Area thrash kings such as Testament. The guys know how to apply clever formulas and display intelligence throughout, particularly on the epic ‘Beyond The Walls Of Treachery’, but as I spin Seven Words for the eighth time I’m still as unfazed as I was first time round and that’s a feeling I’ve had with Xentrix right from the start of their career. It doesn’t matter how diverse or volatile the band gets, my feelings remain the same. Having said that, this album is an improvement on the last offering, although the cover of Alice Cooper’s ‘Billion Dollar Babies’ I can live without.

Neil Arnold

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