vote
7.0
- Bands:
DESOLUS - Duration: 00:39:20
- Available from: 10/05/2024
- Label:
-
Hells Headbangers
The Americans Desolus were formed in 2019: just enough time to settle the shot before witnessing, helplessly, the global chaos of the following year. Sensations of frenzy and anger poured entirely into the very first demos, awaiting the decisive explosion, which occurred with the present “System Shock”.
What do Desolus propose? Adopting the formula of a power trio studded with studded bracelets and standard cartridge belts, it is the thrash brand of the old, very old school that is present in style throughout the entire forty minutes. From Sodom to Kreator, from Dark Angel to Slayer, the blows inflicted by the American trio closely follow some crucial elements decreed then by the aforementioned bands – and they do it well! Nothing to complain about the source of inspiration, on the contrary, but a few more points of originality wouldn't have gone amiss.
Singularity therefore not so evident in contrast with a concentration of mouth-watering energy: Jimmy Frost (hybrid Araya/Petrozza voice with guitar) leading the command, Vivek Rangarjan following on bass, Travis Stone (drums and former bassist in Pig Distroyer as well as protagonist live with Cavalera Conspiracy) to close. A compact and furious group at the service, as mentioned, of a sketchy and rough thrash, also borrowing from the past that black vein oozed in the debut by the Teutonic crawler led by Tom Angelripper.
Flows of riffs and tight, punctual and scorching rhythms already in the title track, an excellent starting point for framing the work of Desolus who, also from an artistic point of view, have 'taken' the suggestions of the old guard: the cover of “System Shock ”, in fact, has that I don't know what of Nuclear Assault (“Game Over”) to make the time jump to 1986 immediate.
And if in “Metal Fetishist” a hint of “Show No Mercy” pervades the entire song, it is the typical assault on Sodom that characterizes “From Man To Machine” (penalized by a rather low volume yield); dry and unpretentious pace, also traceable in the subsequent “The Invasion Begins”.
Speaking of Slayer, the influences spread over time by Araya and his companions reveal themselves even more clearly in “The Sigilite” where, in addition to the initial scream (“Angel Of Death” docet) there is also an instrumental break halfway through the piece from the clear signals made in “Chemical Warfare”, with a revved up rhythm section, a prominent figure both in “Curse Of The Technomancer” and in the final “Panopticon”, where speed hits in an Agent Steel key also creep in.
In short, if Desolus wanted to somehow underline their passion for vintage thrash, they have fully achieved their objective: at this point, a more courageous turn forward is at least required.
Daniel D`Amico for SANREMO.FM