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HYDRA
Unknown Gods

Self-released (2022)
Rating: 6.5/10

Well, would you believe it, this is the same band who released three demos between 1988 and 1991 before seemingly disappearing up their own arses. However, some confusion probably arises when looking up the Ancona, Italy-based band’s history, because in 1993 two founding Hydra members were playing with the similar named Aydra. Then in 2008 the Hydra moniker was resurrected with the band releasing a five-song EP, Heaven’s Tree, in 2012, a debut album, Darkchild, in 2016, and now this second full-length, Unknown Gods.

Hydra still features three of its original members from back in 1985 when they first formed, namely Giovanni Rovatti (vocals and guitar), Gianluca Marconi (guitar) and Gianluca Cardinaletti (drums). The current line-up is completed by bass player Isadora Galeazzi who joined in 2013.

When a band has been so sporadic since its inception during the halcyon years of metal, it’s fair to say that new material is more of a fresh start rather than a continuation. And one only has to look at veteran British act Black Rose as proof of this, as they’ve come steaming out of the blocks this year with a bone-crushing record (WTF) that is a world away from their past exploits.

It’s no real surprise that due to modern dynamics the sound of Hydra circa 2022 is a polished one. Here the bass is clear and sturdy, the drums are solid and no frills and the riffs drift pleasantly. In a sense, it’s rather harmless thrash with the obvious nods to all that has gone before musically. Unknown Gods is melodious, timely, crisp and portraying a variety of tempos which enable the leads to squirm between.

At times there’s a modern San Francisco Bay Area crunch mixed with a contemporary Slayer vibe, and the vocals, although not that powerful, act as simple rasps as the likes of ‘Blasphemous Flutes’ charge by effectively with their clinical gallops. There’s also a strong Teutonic feel at times, and I’m often left thinking of the style of metal Kreator has evolved into but with less variation and certainly less Gothic nuances.

‘Signs’ seems awkward in its wording but effective with its rather pallid angles which hint at, say, Coroner, so that European flavour is always evident, even if it’s not essentially Italian in its flair or design.

The album runs for a shade over 30-minutes but remains an easy, often groove-based experience, particularly with ‘The Key’ which offers interesting chugging dynamics and variations in its patterns, and there’s some excellent lead work on the inviting slog of ‘Polaris’.

Hydra rarely uses dashes of speed to force itself upon you. Instead, they provide the sort of metal middling not alien to the likes of Meliah Rage and Metal Church. Unknown Gods is a satisfactory if somewhat unfulfilling simplicity composition that leans towards thrashy aspects without ever really getting off the ground.

Neil Arnold

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