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DARK DESIGN
Prey For The Future

Heaven And Hell (2013)
Rating: 6/10

Dark Design are an American five-piece melodic thrash metal band hailing from North Carolina. Prey For The Future is the band’s debut effort, and one that should turn a few heads.

It’s only natural that Prey For The Future is an accomplished debut; after all, these guys have been on the circuit since the late 80s, but it’s taken them a while to find the sound they are most comfortable with.

Dark Design’s debut has a very mature feel to it, but my main issue is the lack of variety; this nine-track affair is rather stubborn in its refusal to shift out of its standard, albeit professional type. Firstly, the vocals are clear and soaring, but quite unremarkable. Frontman Andrew Bertrand somehow hearkens back to that middle of the road, late-80s style of thrash / power metal, and the same could be said for the music.

While guitarists Mike Joyner and Ray Lewis are skilled musicians, the overall sound here is rather tedious, but could well appeal to those thrash fans who found the rather bland sounds of UK bands Xentrix and Toranaga to their liking, and to a lesser extent, Meliah Rage, Metallica and Metal Church. Dark Design fit into this bracket but inject a heavy dose of traditional metal into proceedings, especially with the likes of ‘Welcome To Your Doom’ and ‘Dragonmount’, the two tracks having have a classic feel to their dynamics.

Prey For The Future shows a lot of technical prowess. The band are capable of some quite stirring melodies as well, especially with the staggering ‘Meditations’ with its progressive elements. With its Eastern influence, the strangely entitled ‘Spice World’ is an eight-minute techno-fest of the highest order, displaying the drumming ability of Robbie Mercer and the interesting bass structures of his brother Matt.

Again though, I find myself gagging for extra bite. Unlike many of the other tracks however, ‘Spice World’ does offer us meatier vocals and a more driving approach which is punctuated by some splendid soloing. By this time I’m thinking of a more watered down Annihilator, but just when I thought there was hope we’re bathed in the putrid pomp of ‘Dust In The Wind’; a cover of the old Kansas nugget, it lacks the subtle class of the original.

And so, as Prey For The Future fades to black, I’m rather confused. One moment I’m incredibly impressed by the musicianship of this platter, and yet also wondering how it could be so devoid of life amidst such crystal solos and clinical bass lines and percussion.

Dark Design probably won’t go back to the drawing board after this, because I sense this is a persistent beast that will no doubt sense life within its mediocre existence. For me though, eventually, these guys do live up to their moniker. While I see this record pleasing the metal purists, I’m of the opinion that there’s just no thrill in this sort of metal anymore.

Neil Arnold

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