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MASSACRE
Necrolution

Agonia (2024)
Rating: 6.5/10

Massacre. What is there left to say? With the Florida band’s origins in the dusty confines of the mid-80s and an alleged classic debut album, From Beyond, in 1991, Massacre’s reputation and quality has somewhat eluded me over the decades.

Eternally led by the fierce Kam Lee, Massacre may deserve its title as a respected cult act, but the recorded output since has been mediocre at best and now with Swedish extreme metal musician Rogga Johansson on board Massacre sounds even more generic. For me, Massacre is the band that time forgot in spite of what is now five full-length albums and numerous EP releases to their name. I’ve enjoyed Massacre sporadically and that’s simply because much of the band’s output hasn’t been good enough.

With Necrolution, the listener is spoilt with 16 tracks, although some are rather misplaced interludes. Even so, Johansson does his usual by cranking out riff after riff and Lee growls like a cartoon villain. It’s simple, sometimes effective but mostly straight down the line death metal that’s consistently robust by supplying lashings of old school fodder. Whether it’s doomy, groovy or downright ghoulish, Massacre will appeal no doubt to the die-hards and hopefully some new fans too.

Kam Lee is merciless when it comes to leading the charge which sees Rotpit’s Jonny Pettersson driving his axe alongside Rogga Johansson. And to an extent it could be argued that Massacre sits at the top of a league that features bands like Rotpit; an unremarkable field of seasoned musicians who seem content to steadily plod. I just don’t think Massacre has ever had the ability to step up a gear, although they do come close on the Autopsy-esque ‘Shriek Of The Castle Freak’ and the Deicide-ish ‘Death May Die’ with its infectiously morbid chorus.

Elsewhere, it’s the usual late 80s ghoul machine as the tried and tested H.P. Lovecraft worship comes to the fore on the grisly ‘The Colour Out Of Space’. ‘Fear Of The Unknown’ is suitably rapid in design, particularly the hectic percussion of John Rudin. Of all the cuts, ‘Rituals Of The Abyss’ seems less hesitant to revert to type by lumbering like classic Candlemass before some atmospheric chants, while ‘In The Lair Of Legacy Leeches’ features a gnashing rhythm in accompaniment of Lee’s cookie cutter grunts. However, as much as I try to get enthused by the 47 minutes of music on offer here I’m constantly reminded as to why Massacre just doesn’t chill the bones or warm the cockles.

While Necrolution may be a return to form for some – although the last opus Resurgence (2021) received some decent reviews – I’ve never been sure if Massacre has ever had any form. This just cannot be a glowing review, it’s not album of the year, let alone the week, it’s just Massacre doing what they do best, but for me their best is never enough.

Neil Arnold

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