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EXODIA
Hellbringer

Self-released (2014)
Rating: 6.5/10

Spanish thrashers Exodia are a combo worth keeping a gouged eye on because their sophomore effort, Hellbringer, is a marked improvement on their 2012 debut Slow Death.

The quintet plays explosive thrash metal featuring scathing vocals and pacey percussion along with blazing guitars and hints of melody. When these guys began they had more of a traditional metal feel but over time have incorporated a harder edge to their sound, bringing to mind the likes of Megadeth, Kreator, Slayer and the modern thrash revival bands.

Hellbringer is the first composition to feature new drummer Toni Camarero, who replaces Pablo Vergara. Exodia is still fronted by Amando Milla, who is backed by bassist Victor Tello and the twin guitar attack of Rafa Las Heras and Pablo Tello. The axemen make a significant mark on this record, their input giving the record a really aggressive yet refreshing and energetic edge, rather than opting for mere generic 80s-styled riffs and speed.

Although this is a fast record, Exodia have matured considerably since their debut outing; the band inject some excellent solos which can be quite unpredictable, yet are always inviting rather than messy. Most of the songs are well structured and have at times a distinctive German thrash feel, bringing to mind the modern strains of, say, Sodom and Destruction.

The band also insert a dose of humour too, and yet it’s not the sort of comedy that brings the album down; for instance, despite its attempts to be incredibly metal and in spite of its naïvety, the likes of ‘150% Attitude’ is still an earthquake of a track. As expected too, beer drinking takes to the fore to with the closing ‘The Art Of Drinking’, but these are still gems wrapped up in a reasonably vibrant framework. If these guys really did put their mind to it though, they could be a major force on the European scene.

One prime example of their edge comes in the guise of ‘Infected Hate’, which features some interesting guitar segments and a real bruising pace, as does the rollicking ‘Shout The Nations’, where Toni Camarero comes into his own as the band slow the pace for a patch of fist-pumping classic metal.

I’m unsure why the band have to exist with tongue firmly in cheek. They are clearly talented musicians who understand thrash metal as a force, but do we really need lyrics such as, “You wake up in the morning and pray to Dio, you go to the high school without books, with metal in the headphones, your desk is engraved with logos from your knife, teacher respect you because you know more than them”. These type of rebellious words may have been popular in the 80s when the likes of Twisted Sister were telling us to be cruel to our school, but such humour still remains rather dodgy within the thrash fold.

Despite the naïvety, Hellbringer is still a solid record that will please the thrash metal fanatics. Although it lacks imagination at times – particularly lyrically – the album makes for a rampant experience and one that should leave most of you frothing at the mouth. Undoubtedly it’s thrash for the modern era, but it’s still good, friendly violent fun.

Neil Arnold

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