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SLAVE TO SIRENS
Echoes Of Silence

Self-released (2024)
Rating: 8/10

It’s very rare to find an extreme metal band from Lebanon. In fact, this all female Beirut-based thrash combo is probably the first act I’ve come across from the region. Slave To Sirens has existed for almost ten years but Echoes Of Silence is the band’s debut full-length album. The line-up on this outing consists of vocalist Anita Tóth, guitarists Lilas Mayassi and Shery Bechara, bassist Alma Doumani, with drums provided by Inge van der Zon (Doodswens).

This is a snappy opus not too far removed from Nervosa alongside the deathlier barrages of Crypta, and the vocals are menacing scowls amidst the scathing flurries of percussion. From the off this is a sniping attack, both fast and forceful as the mob rips through ‘WMD (Weapons Of Mass Destruction)’ and ‘Reborn’ as if they were a pack of starving piranha latching onto a floating corpse.

This isn’t just a one dimensional thrash storm though. As well as viciously savaging your jugular with deadly snaps, Anita Tóth also delivers some very deep, chesty bellows which are in keeping with the more robust and heavier slices of meat. Subtlety is also introduced, for example ‘Ancient Fear’ is hauntingly melodic as the drums express a fragility alongside the clear vocal wafts. The death and thrash is never far away, but this song is very much the band tapping into a contemporary metal design.

‘Salomè’ boasts a serrated melody with further glints of melody, ‘Beyond Control’ is initially more straightforward before the steadying of pace, while ‘Dark Waters’ begins like Voivod, jarring in its delivery of bass and drum. ‘Mistress Of Pain’ is delightfully wistful, whereas ‘Merchant Of Souls’ is crisp, sporadically fast and cutting in its production.

Although violent in its prowess, Echoes Of Silence ravages with a ravenous yet occasionally melodic attitude. The marrying of thrash and death will always result in a decent record if executed correctly, and although Slaves To Sirens aren’t doing anything new this is still a frenzied debut.

Neil Arnold

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