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ANGELUS APATRIDA
Cabaret de la Guillotine

Century Media (2018)
Rating: 7.5/10

Since 2000, so many thrash acts seem to have passed me by due to there being somewhat of a “new wave” crashing at the shores of sin. One such act who I didn’t intentionally ignore is Angelus Apatrida, a Spanish band who has just released their sixth album in the form of Cabaret de la Guillotine.

Hopefully some of you may have been aware of this band from their 2006 debut Evil Unleashed, but for me it’s very much a case of being new to their sound. And so, what we have here is an accomplished quartet whose last outing emerged three years ago, and yet with Cabaret de la Guillotine it appears that this combo has been eager to get back to business.

This is a very solid and melodic thrash record; Cabaret de la Guillotine is easy on the ears in spite of its savage divisions, and also exceptionally clean in its jabbing production and sharp licks. Guillermo Izquierdo exhibits effective vocal traits, whereby he drifts into an almost power metal style after his tirade of initial choppy rasps and raps. For me, the star of this show is drummer Victor Valera, whose tight-knit percussion holds so much of the framework together. As his sticks work overtime, we get sharp axe work from Guillermo Izquierdo and David G. Álvarez.

Just one listen of this record leads me to believe that this is one hell of a mature outfit that for the most part of the last 18 years has stuck with its original line-up, the result being huge, anthemic power metal-cum-thrash. What better way than to signal their return with groove monster ‘Sharpen The Guillotine’; a monstrous track of juddering rhythms, spiraling vocal talents and razor-sharp riffage.

To call it out-and-out thrash would be unkind because these guys cram so many varying melodies and tempos into what are essentially quite long songs, most of which are over five minutes. Nevertheless, because the content throughout is so engaging and varied, this album soon becomes a rather eventful ride.

Again, reverting back to that opener, we seem to have a classic modern thrash record, but there’s just so much more to it. The almost mandatory slow-build intro gives way to an avalanche of crushing melody and stirring percussive nods and tucks before the band go thrashing like maniacs, blazing in all departments as Guillermo spouts a vicious rasp which quickly transforms into a clean, soaring, chest-pounding power metal surge.

As an opening track, one couldn’t have asked for a better lightning bolt to the system. I could only pray that the combo would keep the quality up and they most certainly do. ‘Ministry Of God’ is absolutely furious, as is ‘The Die Is Cast’; the latter is another molten thrasher that hits like a ballistic missile, and yet there’s so much melody and variety contained.

‘Downfall Of The Nation’ brings more hammering riff, bass and percussion to the table as a metallic stampede of the highest order. Another killer melody sweeps on by until again we’re battered by the belligerence, Angelus Apatrida hinting at an edgy, modern Metallica with their punch. In complete contrast, ballad ‘Farewell’ is mournful in its metallic nature; a majestic gush of sombre chords toy with equally despondent drum nods as again I’m reminded of Metallica, but it’s not all nods to familiar threads.

‘The Hum’ is another meaty pulverizer, my only issue being that at times the sound is just a tad too crisp which somehow hinders the band, preventing themselves from unleashing something rawer or dirtier. Still, it’s so easy to be consumed by ‘Betrayed’ with its multi-layered vocal effects circa Dave Mustaine (Megadeth), while the snappy ‘One Of Us’ is a thunderous shock to the system.

Cabaret de la Guillotine holds many influences from across the metal board, some more apparent than others with the obvious Metallica, and also Testament through to Exodus and Pantera, but this is not a Spanish act doing American metal. Angelus Apatrida simply acknowledge their roots, and in turn channel such influences into their own energetic brand of power thrash.

Neil Arnold

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