Power Trap

Conceived in as Warthorn in 1986 and active as Disciples of Power from 1987 until 2003 this Alberta, Canada death/thrash metal band burst from the aethyr resplendent with a talent for technical thrash metal compositions and a keen sense of dynamics beyond most greater known bands of the era. On this first full-length wrangle a set of influences that arrives at the junction between the shark-attack precision of Coroner, the Voivod influenced rally of Obliveon, and the riff-crammed attack of Dark Angel and do so with their own righteous sense of melody. ‘Powertrap’ is a masterful lesson in frantic and technical composition that would prime their path towards some of the most engrossing technical/progressive death metal of the early 90’s.

The technical guitar work and vocals of Hart Bachmeir are really at the heart of what makes Disciples of Power stand out but none of it would work so well if he hadn’t had such a tight chemistry with drummer Dean Reif (Warmarch). Reif was basically doubly impressive with each successive release and although some of the material here is thrash standard he breaks out some a wide range of tricks in unison with Bachmeir throughout. Much of what you hear on the thrash leaning riffs of ‘Powertrap’ was developed with Maurice Williams who could also be heard on the band’s second and third demos previous to the full-length, though it seems as the band wanted to work towards more complex and death metal style Bachmeir/Reif would take over all of the songwriting and performances thereafter. I wouldn’t say that the technical thrash metal side of ‘Powertrap’ was wildly different from what tech-thrashers in Europe were doing at the time, though, and what sets it apart is in the performances, the death metal undercurrents, and the merciless Infernäl Mäjesty-like attack of it all.

There is a highly twisted level of intricacy in the guitar work that should briefly warm up fans of Watchtower but also a hardcore punk-ish roughness (as if written in a panic) that should remind folks of Vektor‘s ‘Black Future’ as well as Coroner‘s second album. Bachmeir‘s vocals are typically a source of irritation for death metal fans on later albums but here he shows a great range of expression while staying more or less within the realm of late 80’s thrash metal, narrowly avoiding death metal growls. I really appreciate the dance between classic thrash, death/thrashing, and even some crossover thrash tracks sometimes all of this on one track (“Bitch of Doom”.)

Very few projects manage the sort of progression and distinct sound as Disciples of Power did in their first ten years across four full-lengths. ‘Powertrap’ kicks off that impressive run with what I consider to be one of the best classic thrash albums ever released and I think it holds the musical space between ‘Control and Resistance’, ‘Punishment for Decadence’ and ‘Beneath the Remains’ honorably. 2018 is a crazy frickin’ age to be a metal lover because when I discovered this band twelve years ago I had to spend $30-50 each to track down Disciples of Power and today you can just hop over to Bandcamp and experience everything they ever released free. Don’t skip “Shades of Grey” but you should be completely sold by the end of the title track.

Attribution: http://grizzlybutts.com/2018/05/15/retro-tuesdays-disciples-of-power-powertrap-1989/

High-voltage is certainly the best way to describe Powertrap, an unreasonably convincing debut album and clinical exercise in toeing the line between just about every cerebrally-inclined faction of thrash circa '89 without fully committing to any one epithet. That's not to pin Disciples of Power down as anything but insurrectionary when it comes to the genre's then-standing ordinances, because they certainly put together an effort that rips the floorboards out from underneath the listener while still beguiling intrigue from a technical standpoint. Sort of like one part Intruder's speed metal rhythm velocity intertwined within Bay Area muscle ala Forbidden. Add borderline progressive pandering in the vein of Coroner and never let the speed drop. Mix until it erupts like a meth lab.

Man, this just kicks so much ass. What initially won me over was the detail of the rhythm section, which is airtight and features almost autonomic vivacity. The record boasts a plenitude of seemingly indiscriminate fits and starts, jumping to and fro between scattering leads and acoustic atmosphere-fillers that remind me on an instrumental level of Artillery's By Inheritance. That said, Bachmier is certainly no Flemming Rönsdorf, instead generously radiating a bevy of borderline-death rasps along with throaty cleaner interjections. Definitely similar in vibe to early Dark Angel from a vocal point of view, but once you add the precision punch of the thrashing guitars that feature that pluggy and warm tone that sounds oh so '89 the proceedings begin to take on a somewhat more compulsive temperament. And as structurally detailed as Powertrap is, it truly never loses that endearing sense of looseness courtesy of its manic and choppy nature. Opener "Shades of Grey" exhibits these observations at full force, appearing at first blush as a moody acoustic piece before the swirling torrent of riffs are unleashed. We are pushing early Morbid Angel levels of aggression here, to help illustrate the borderline-revolutionary arsenal Disciples of Power are working with.

The band even goes a step further concerning the level of detail ingrained within, as most tracks here actually segue directly into each other, resulting in one fluid and at times exasperating listening experience. For example, the title track opens with a pseudo-galloping Twisted into Form-esque fret-cracker before moving into some more epic note progressions. The first time I listened to this I was so inundated by the song I hadn't even realized that I was halfway through "Ice Demons." This isn't a knock on the Disciple of Power's ability to craft meaningful individual numbers, but a compliment to how engrossing the material can be. These Canadians surely boast the ability to open songs with gusto, oftentimes featuring monolithic note progressions that build an unreal amount of tension, usually releasing such with verses that feature swinging chords like those of Morbid Angel's "Suffocation." Personal standout moments include the eponymous closer (the most progressive number here) and the high-octane "Bitch of Doom," which is the most compact and visceral tune of the litter.

Powertrap truly stands the test of time, and has to be one of the most overlooked Canadian thrash records I've ever come across. It fuses careless attitude with a deceptively bold armament that razes more than a few landscapes throughout. I don't think it would be unfair to say that there is something for just about everyone buried in here somewhere, but the technical and borderline-progressive tendencies stand out the most for me. This album deserves a spot right up there with the best, and as stacked a year as '89 is, Disciples of Power let their voice be heard in a very convincing fashion. Tests the genre's boundaries and benefits greatly from it. Don't miss!

There are so many things right about this album. Most thrash coming out around this time (1989) was beginning to be generic, and everything was sounding the same. Disciples of Power's Powertrap doesn't sound much like anything else that was coming out. It's a rare gem from a rarely spoken of band. The positives on this album are overwhelming, and there aren't really any negatives to be spoken of. This is simply complete mastery of thrash at it's best.

Production: Powertrap has incredibly clean production values. The drums are just right, the guitars and bass don't go out of balance, and the vocals provide the perfect offset to everything. Everyone on here is playing their instruments with proficiency and not losing a single beat; this is incredibly important in songs with more progressive sections such as the title track. One of the best things about this record is that all the tracks seem to segue into each other, making this a continuous musical experience, never knowing when one track ends and the other begins. Simply put, the production is outstanding.

Song structures: Disciples of Power put on some incredibly interesting musical offerings with their debut record. They have plenty of progressive sections as mentioned before, and the riffs do not tire. Most thrash uses a few generic riffs that get really repetitive and boring, but these guys make it worth your listen, and make sure that every second of their music is enjoyable by catching your interest throughout. There are plenty of acoustic sections on the opening track, Shades of Grey. Solos and drum fills are put in places that are just right for them, and they aren't overused. Every song on the record is a perfect example of how thrash should be made.

Individual performances: Starting with the basics, the guitarists on this album really put on a show. The guitarists play a plentiful amount of speedy and technically demanding riffs that won't let up. The guitarists are incredibly proficient rhythm-wise; no sloppy playing to be found. Their solos are virtuostic and fast, but not to the point of ridiculousness or anything like that; the solo work just blows anyone away who heard it. The bass is plenty audible and does a great job at backing up the guitars. He gets a lot of bass time in Night of the Priest and Hidden Worlds. DRUMS. Where to start, other than that the drummer on this album is just plain INTERESTING. He does a MUCH better job than the majority of the drummers in this genre, constructing plenty of above-average beats and fills. And as with the guitar and bass, he is almost metronome like with rhythm. He is incredibly progressive for thrash to say the least. The vocals on this album in a way are like Tom Araya's early vocals. He chants phrases like a psychotic madman, but not with the wickedness, fury, anger, or aggression that Araya did. Then again, the music here isn't written with the wickedness, fury, anger, or aggression that Slayer's early music was written with (thinking around the time of Hell Awaits here); it probably wasn't their goal. Slayer's goal was to push the boundaries for heaviness and evilness at the time, and Disciples of Power probably aimed to make more progressive music. The lyrics on this album are great as well, focusing on subjects other than the thrash norm, and in a way keeping with the progressive atmosphere of the album. They are interesting to read, and do not at all distract from the amazingly impressive musicianship exhibited on Powertrap. Everyone who plays on the record does an amazing job, and deserves praise.

Final Words: Getting to listen to a thrash record that is of the level of excellence as Disciples of Power's Powertrap is truly a treat. Only a handful of thrash bands are as amazing as this, especially on their debut. Recommend it to all of your friends and spread the word. The record is nearly perfect in it's delivery and content. Oh, and the bonus tracks are certainly worth the listen (Bitch of Doom is a speedy thrasher, and how can you NOT listen to a self-titled track from any band). Find this album by whatever means necessary and listen to it for yourself to enjoy the experience.