Infected Nations

Evile is one of only a handful of "retro-thrash" bands that managed to stay clear of much of the cliches that bred the contempt of many, their debut, "Enter the Grave" already giving us an idea of what real retro-thrash should sound like. The band has also stepped up their game with the subsequent release of "Infected Nations" in 2009, giving us an even better impression. It's a greater example of all retro-thrash that we should all associate with, as opposed to the incredibly overdone abomination that is Thrash Or Die.

While "Enter the Grave" was indeed a great album, it was, by no means, perfect. Much of the songs on that album were mostly at the same pace and double-timed every now and then to create a thrashing speed. It's not that way at all on "Infected Nations", for the band had introduced themselves to tempos other than ones described in thrash metal textbooks. Some might say that this is a step towards "selling out", but I feel that it puts a bit more creativity into the works. Case in point; "Plague to End All Plagues". Granted it's at a much slower tempo, but I have mentioned before, that thrash metal doesn't always have to be at breakneck speed in order to be perfect. The song has a crunching and powerful aggression to it that, I admit, would be better if the song were a little bit faster, but if the intimidatingly aggressive tone is the band's goal, then they've very well achieved it, even with a slower pace. Besides, the previous album had at least one or two songs that weren't all that fast (listen to "Bathe in Blood" if you don't believe me).

Don't worry, we've still got songs that are fast enough to mosh to, just have a listen to "Devoid of Thought". It's got that incredible thrashing pace and powerful abrasiveness that we all know and love. It's even better when it's double-timed to moshing speed, especially when it's getting towards the end. "Time No More" is another song that has this. It's like "Devoid of Thought" in the sense varies from the main tempo and the double-timed, mosh pit speed. However, we get way more of the double-timed speed, thus making the song a potential favorite for any thrasher. Don't forget "Nosphoros", which is like both of them, except for the fact that it's even faster. It's got everything a mosher could ask for, chugging, stuttering machine gun riffs, hyper-fast drums, and gruff, tough vocals. It's a perfect recipe for the perfect song. There are slower moments, but then again, like I said, it doesn't have to be at breakneck speed all the time.

Judging by the long length and the number of riffs that populate "Hundred Wrathful Deities", I'm guessing that Evile just might be trying to outdo Metallica's long instrumental masterpieces, like "Call of Ktulu". I mentioned that one rather than "Orion", 'cos that's kind of what "Hundred Wrathful Deities" sounds like. However, I must say that it might be a little better than "Call of Ktulu", and that's 'cos the guitarists Mat and Ol Drake have a few more riffing tricks up their sleeves. Unlike Metallica, Evile seems to have used more tri-tones than ever. More than that, I think they've inserted a few diminished arpeggios and chords into the mix. That's not something you'd expect Kirk "WAAAHHMET" Hammett to come up with. Also worthy of mention the murky and heavy bass line that we get from the late great Mike Alexander that briefly shows up. It's like we've got someone who's not only learning from Cliff Burton, but is also effectively executing his own style. We don't get bass players to shine that much in many retro-thrash bands today, but Evile shows us that bass players are just as important as any other member of the band.

It's a shame that the more cliched bands like Municipal Waste get more attention than Evile do. Not that Municipal Waste is entirely terrible, they've just got a few things that are really hard to take seriously. Evile, however, is easier to relate to. Their music shows that they're more serious, more no-nonsense band that plays very effectively. If Metallica never abandoned their roots (and thus became the source of constant ridicule on the internet), this is probably what their music would've sounded like; a band of people who put talent over profit and over partying. They've created some nicely-crafted metal while still appealing to the mosh pit crowd. That's what I look for in a retro-thrash metal band.

Infected Nations is something no one could have really understood at it's initial release. I certainly didn't, yet I'm not apologist. My honest opinion on this album is that there is so much buried within this album that it's easy to get lost on some of the more mediocre "parts" and miss the incredible gems within. Listen to the riffs.

----
Short (TL;DR magazine) review: Infected Nations is a great album, but you won't think it is. There are two problems here, one being the track "Now Demolition." It's awful, and you won't be able to stop thinking about it. The other is odd, jumpy, misunderstood time signatures, and harmonies. At times, they just don't work, and they can completely detract from what is actually being played. If you actually pay attention to the riffing that is going on, it will blow your mind how much riffing is actually being done, but it's hard to pay attention when small parts detract so heavily now and then. If you listen to the riffs and what is being played properly, or past that, incredibly, you will fall in love with this album, but otherwise your head will be stuck in the sand that is the poorly executed parts of this album, which in all reality, pale in comparison to what is being accomplished here.
----

Opening with "Infected Nation", this riffs try to show Evile can play both technically proficiently, yet maintain their incredible speed, and they pull it off at that. With the odd time signatures plaguing the opening, it's quite odd to listen to, it a good way of course. It then goes into some bizarrely fast riffing, at times reminiscent of death metal in its tonality, to it's chanting outro. This theme seems to pop up often within the album, the vocals pulling from the same vein to a slight extent.

Unfortunately, the next track, "Now Demolition," is awful. It pains me to say it, but this attempt to create an anthem is a failed one. Sure, it can be fun to chant along live, but it seems to be completely lacking in any substance. Pushed as something as a faux-single, this track feels rushed, and devoid of any real creativity. Boring chromatic riffing fills the intro, and sluggish verses attempt to push onwards, but fall short. It feels like it wants to break free, go a bit faster, escape from its own blandness, but just can't manage, the solo being the only point where it comes close.

It's at this point that people seemingly stop listening. The horrors of "Now Demolition" linger, and it seems the listener can't help but tremble in fear that another slow, trudging chorus will rear its ugly head. Fortunately, if you open your ear, "Nosphoros" will blow any ideas that such would be possible away, being somewhat ironically the best song on the album, and perhaps most technical. Brilliant lyrics and slowly building vocals make this a master piece, as well as one of the greatest mid section riffs I have heard since, well, ever. Death metal sound odd riffs as heard in "Infected Nation can also be heard here in the early verses. Brilliant soloing here as well, as always. This track can also be noted as one of the very few where Mike's bass playing really shows through and breaks out on it's own (in style more than anything else), though it is certainly still audible on this album in other tracks, which you can't say about a large collection other thrash records, particularly modern ones.

"Genocide" is a bit of an oddity. This one takes roughly ten straight listens to really get used to. The harmonized guitars just don't seem to have any sense to them, and that feeling never goes away, but any odd misunderstandings onwards disappear with time. The longest song other than the instrumental on Infected Nations, this is a monstrous track past the intro, with an odd stomping, and at times jerky beat behind it. Soloing within the track melds perfectly, and slowly constructs the vision intended for the listener. Drumming fuses with palm muted riffs, and vocal harmonies rear their heads as well to throw you off further. It's the chorus that seems to be the most confusing out of all the song, ironically. With that, this track is something of a take it or leave it. It's one of those songs where you're really being dragged along, confusion being the only thing to cling to until soloing and the later riffs get more and more chaotic, yet somehow more understandable, until the harmonies at the end full realize what the song was only (poorly) hinting at in the beginning.

"Plague to End All Plagues" is another mid tempo track, like "Genocide" and "Now Demolition," yet manages to have far more groove then either of the later could have imagined. The guitar harmonies from the end of "Genocide" return, full realized once more, and well executed. The vocals also seem to understand their place better here, containing much more melodic interest and rhythm than previous tracks. The solo sections here are also, in my opinion, some of the best on the album. Their rhythm seems to be given much more attention, where most of the solos on this album are simple (though very unique) shredfests.

"Devoid of Thought" was at first, my favorite track on this album. Possibly the fastest as a whole, it sounds a lot like it could be on their first album, though with just an added edge of technicality, and with far more riffs than anything on ETG. The vocals here are much faster and less drawn out than on most tracks on the album, though the chorus' vocal melody, unfortunately, sounds like it was just taken from "Plauge" or "Demolition" and flipped on its head. Fortunately the verse melody has much more thought put into it and soars far better, and the riff below the chorus is able to at least slightly detract from the boring vocals with surprising triplets and jumps. The bridge is a great groove, though it is not that great as a pre-solo riff. Huge harmonies before the solo as well, the solo itself, ridiculous in its energy, jumping all over the place and providing unique effects. The post-solo leading into the outro is also a very insane, off beat, jumpy riff that can really get you moving. The outro itself also sounds a bit like "Man Against Machine"'s outro from ETG, though much more interesting and groovy. A headbanger's dream. With all of this put together, you have a very solid track, but it sounds a bit mashed together when looked at as a whole. Another unrealized experiment, though a very, very commendable attempt.

"Time No More" follows slightly in the pattern of "Devoid of Thought" in keeping a similar tempo, though keeping much more groove in it's chorus, one of the best point of this album. The verses that build to it seem to, like a few other sections on this album, not understand how to properly use unique time signatures. Simple stops to let the listen know they are doing something unique really ruin the verses. A while in, the track seems to evolve, now having figured out what it was trying to do in the verses just before the solo, which isn't particularly notable in itself, though it has an interesting lick just before going back into the chorus to a very short outro. As the shortest track on this album, it is in a way, commendable in the fact is easily has the best chorus on the album, but oddly written riffs drag it down slightly.

"Metamorphosis" is somewhat easy to forget, yet evolves into something that you shouldn't. Very cool and interesting technical riffs open it and take you into the verses, but the chorus is just, in a word, stupid. The verses manage to be somewhat noticeable in that fills will pop up every few seconds, but when you hit the chorus, it's just a bit confusing. On first hearing it, it's fairly cool, but after that riff hits you so many times, it just makes you want to stop listening and forget it ever happened. It really makes you forget about the rest of the song once you've listened, which is unfortunate as the rest of the track is wonderful and extremely fun to listen to. The later half of the song is just incredible, though the choice to fade out during a vocal section is very confusing.

"Hundred Wrathful Deities." I'll be upfront about this one. It isn't that great. The atmospheric elements are amazing, and the standard riffs are a great listen, but as with another group of harmonies on this album, a lot of sections just don't pull through. There are at times five different guitar parts being played, and god knows how many guitars layered, and it's just too much to handle, a wall of sound. The rhythm guitar in the back is far louder than it needs to be, and above all detracts from the interesting parts being played above.

Now you might think for such a negative, or sub par impression, it's odd that I'm giving this an eighty seven. The thing is, the good parts of this album shine through so incredibly, it's hard to ignore them. As stated in Metamorphosis's "dissection," a lot here is easy to forget. The odd mistakes here are so incredibly blatant that it's also incredibly easy to miss some of the absolutely amazing riffing going on otherwise and beyond those mistakes. All of the tracks here (other than two) are honestly amazing, but small ugly blotches (and the large blotch that is Now Demolition) so heavily cloud these great things.

The third album will, hopefully, rid of these things, and bring these amazing riffs to the forefront where they deserve to be, instead of stuck in misunderstood time signatures and under poorly mixed harmonies. Until then, give this album a PROPER listen and understand what you're missing out on.

Evile’s first album, “Enter the Grave”, was given praises in the world of metal with an attitude, much like the 80s thrash bands. “Infected Nations” is a different thing, though. It is quite unique, very original. Although I liked “Enter the Grave” more, I could say that “Infected Nations” is also a good album too.

The first thing I have noticed is the vocal change. Unlike before, where the vocals were nothing more than screams, the vocals now are more like singing or chanting, in thrash style, of course. All songs here range from mid-tempo to fast songs, and the production is like before, still clear and the plucking of the bass are quite hard to hear. The drumming is still splendid. It is never out of sync, as I’ve noticed. The riffs and solos are really unique. They have created something different despite basing on classic thrash riffs. All these created a macabre and dark atmosphere throughout the album, like their album cover. I’m pretty sure that this album won’t be appreciated as a whole on the first or second listen for its dark atmosphere, but try to listen to it carefully and you’ll see the album’s sense.

The album starts with the frantic "Infected Nation" that will leave your head banging. “Nosophoros” has an intro which reminds me of their past album. The song is thrash at its best and is sure to start a mosh fest. Besides, it has an incredibly long solo that is sure to make you enjoy. “Plague to End All Plagues” is the first mid-tempo song that gave me such enjoyment, especially on the chorus and the two sets of guitar solos. “Devoid of Thought” is another thrash song at breakneck speed, whose intro reminds me of “Enter the Grave” (the song), but that set aside, it’s a song that will scream at your face, which is followed by another fast thrash, “Time No More”, the album’s shortest song that leaves no time to waste. The only real filler here is the instrumental, “Hundred Wrathful Deities” which is ranging on around 11 minutes. I don’t get its sense at all, that’s why. They should have put “My Parasite” instead, which is fitting to be the album’s last song being very explosive.

All I could say is that I’ve never heard an album that sounds almost like this. This is very original, though there are a few flaws here and there. Maybe they could fuse this originality of theirs to the attitude their first album has. Good thing we have these guys to spread the word of thrash.

Originally made for http://mystifymyserie.blogsopt.com

I can safely say that Evile and their one album at the time helped me dig more underground into the metal genre and find out that Slayer, Metallica, Anthrax, and Megadeth aren't the only thrash metal bands out there. In fact, Evile is what helped me dig deeper into the thrash metal genre itself, helping me discover other truly excellent thrash metal bands like Kreator, Sodom, and Holy Moses, which to me, all three of those bands and Evile should probably even be mainstream comparable or maybe even mainstream thrash all together. However I'm drifting off topic so I'll get down to buisness now.

I really liked all the songs except the instrumental song, which was okay, but certainly not great, but the songs that really helped me like the album were Infected Nations, Time No More, Devoid of Thought, Now Demolition, and Plague to End All Plagues. These five songs show true thrash metal in a unique way. I dont know if they down tune those guitars or not, but either way they make these songs very heavy and brutal, along with the war themed lyrics and maybe 7 out of 10 drumming would me want to rate this album 100% if they left out Hundred Wrathful Deities.

I know war themed lyrics are common in many bands especially thrash metal bands, however unlike Bolt Thrower, Vader, or Holy Moses, Evile has its own distinct way of doing both war based lyrics and and also making ballad songs that should be topping the charts on top of this Nickelback bullshit for the number one hard rock album and half the reason being these unique ballad warfare lyrics.

With guitars and bass lines, I'm sad to have to see Mike go (who was my favorite Evile member did I forget to say), Mike and his basslines combined with Ol and Matt and their lead and rhythm guitar parts really makes it a good dark and deep warfare sound. Add those warfare lyrics and drum parts and it's kind of like putting you in a situation where you're a soldier marching up for an invasion, which is what good music is supposed to do. Including the fast soloing, heavy and fast intros and outros, with riffs and bridges probably able to compete with Iron Maiden's riffs and bridges.

Now on to hit songs, my favorite would be a tie between Infected Nation and Time No More, these songs do get old after a while but they are very fun while it lasts which is why listening to them three times in a row isn't the best idea.

So for the wrap up, I'd say any metalheads who want to go deeper than just Slayer, Metallica, Megadeth, or Anthrax in thrash metal, Evile, Kreator, and Sodom are your good starting points. So give them a chance, keep it fucking metal, bow down to the Thrasher, and rest in peace Mike.

Of all the modern wave of bands to revisit the thrash sound of the 80s, Evile has been one of the more successful, causing a large buzz which even got one of their tracks added to the Rock Band video game. I derived little enjoyment from their debut album Into the Grave, thinking it average at best, but this second album a step up in the riffing category.

The title track begins with a nice acoustic intro before hammering into a slew of blazing rhythms. The style here is direct thrash/speed metal with enough American chug (ala Master of Puppets) and also the technicality of Germany masters like Destruction. Matt Drake's vocals are one of the things that put me off the first album. They're blunt and pissed off and remind me of Xentrix (and to a lesser extent Hetfield) and as with that earlier band, but really take a back seat to the riffs. "Now Demolition" features a nice, winding verse rhythm packed with precision and technicality, and some nice touches of melody that add depth, though the vocals are a little dull. "Nosophoros" is again a blast of tight riffing that should appeal to fans of Destruction or Artillery, and "Genocide" weaves a hypnotic pattern of chords into a slower pit fest. Other choice tracks include the manic "Devoid of Thoughts" and monstrous, labyrinthine "Metamorphosis".

Infected Nations has a punchy power to its riffing that combines with the more laidback vocals to create a nice layered depth to the tunes. I still don't love the actual vocals themselves, but this is one of the few albums to really remind me of Master of Puppets, despite its more technical guitars. I was pleasantly surprised by this album, easily superior to Into the Grave and worth hearing for the riffs alone.

-autothrall
http://www.fromthedustreturned.com

There was an incredible amount of hype with Enter The Grave; the debut album from Huddersfield thrashers Evile and while it was received with overall adulation it also had its share of critics. Evile never professed to be anything remarkably original or in fact to be anything other than four regular dudes jamming out music in the style of their 80’s thrash heroes, but they did it well. Certainly well enough to create a buzz, after all it gave the older fans a chance to reminisce while for younger ones it was probably the most exciting thing they’d ever heard and introduced them to the bands that inspired them. Since then there’s been a deluge of thrash bands, some good, some not so good, kids have jumped on the bandwagon, and some have fallen off the bandwagon…and well there’s the question of whether Evile will be quite as successful with album number two or if it will ultimately flop.

The retro sound was fun for a while but there was always going to come a time when Evile would have to either come closer to present times or else get left behind and forgotten about, and as they had an old sound to begin with, the only way they could go was forwards. It seems clear now that Earache have moved on from thrash and are signing up a new crop of pseudo-tough-guy-with-ear-tunnels-and-ugly-tattoos deathcore shtick and putting together tour packages with the likes of Trigger The Bloodshed back to back with Evile really doesn’t inspire much confidence. With a modern sound being what they were threatening, there was a nagging fear that they would make a hideous return with deathcore grunts, whiny choruses and boring trendycore riffs but thankfully upon hearing the album I was able to breathe a sigh of relief.

With Infected Nations, Evile have taken a leap forward and what we have here is a far more modern sounding album, but still they are keeping it true to their own style. Modern doesn’t have to mean bad; alright, in a lot of cases I’m of the opinion that thrash should never be modernised but then you hear, for example, Testament’s Formation of Damnation and it does restore a certain level of faith that thrash can be brought up to date without losing what gives it appeal. The brothers Drake have a distinct style of playing and the riffs especially are unmistakable here; while they have gone for what seems to be a darker sound the trademarks still remain. The album kicks off with an acoustic intro that wouldn’t sound out of place on a classic thrash album such as Legacy or Alice In Hell. This shows that the album is a fairly focussed effort; it comes in well and is rounded off with ‘Hundred Wrathful Deities;’ an 11 minute instrumental that also has that timeless panache of Metallica epic’s ‘Orion’ and ‘Call of Kthulu.’

If I’m to be entirely honest there are a couple of what I would deem to be filler tracks on here and while Enter The Grave kicked ass from start to end, I do find there are a few points where I find my interest waning and perhaps that has made this slightly harder to get to grips with than their debut. The overall flow is consistent enough but tracks like ‘Nosphorus’ and ‘Genocide’ just don’t match the standards of the others.

The sound here is much darker and more intense than on the debut; ultimately they have gone for a slower sound that was heard on tracks like ‘Bathe In Blood’ which may not please the speed freaks out there. This goes hand in hand however with the fact that it is also a great deal heavier; a heavy ass vehicle may not be able to zip down the M1 at the speed of a Ferrari, but in a head on collision it can do a hell of a lot more damage! ‘Demolition’ is an absolute wrecking ball of a track with a huge chorus that you can’t help but want to pump your fist along to. ‘Plague To End All Plagues’ is another strong track that is carried along with a nice swagger that builds up into a formidable chant. Matt Drake’s vocals have also improved and while that rawness is still there he comes across as meaner, meatier and generally far more aggressive here. There’s also a melodic edge that has me thinking of a cross between Chuck Billy and Tom Araya.

This seems to show a more mature Evile and one drawing influence from a much wider pool. In parts they seem to have rather a death metal slant to their sound; the guitar solos on Nosphorus in particular come from the Bill Steer school of playing while there’s a strong old school Sepultura vibe to ‘Infected Nations’ that comes at you with some monstrously heavy guitars and really powerful drumming. There’s also quite a foreboding atmosphere to some of the tracks which gives the music a nice touch.

The second album for any band is difficult, especially with the kind of hype that surrounded ‘Enter The Grave’ as there’s always a great deal of pressure for them to prove album no.1 wasn’t just a fluke. This perhaps isn’t as instant as Enter The Grave was, this one being more of a grower, but I think their efforts to try something different has paid off and is enough to both keep existing fans interested and probably add to their following at the same time.

Originally published for www.metalteamuk.net in August 2009.

I think it's safe to a say a few people – myself included – got a little overexcited when Evile released their debut ‘Enter the grave’ back in 2007. It’s hard to imagine now with the amount of thrash bands running around that as little as 2 years ago a CD released in that style on a label the size of Earache was such a rarity, and I can see now that I got a little swept up in the excitement. Not that ‘Enter the grave’ was in any way a bad debut (I’m definitely not about to jump on the anti-thrash revival bandwagon), but with hindsight it’s easy to see, with the amount of better quality thrash CDs released since, that it wasn’t anything too earthshaking.

With ‘Infected nations’, Evile seem to be out to prove a point, and can be seen to be trying to find a sound of their own and shake off the ‘retro’ tag that has followed them around since their breakthrough. While attempts from a band to cut a path of their own and move away from the tried and tested are always to be applauded, the eternal question of whether its better to excel at something unoriginal or be merely competent at something different unfortunately seems particularly pertinent to this CD.

The songs on their 2nd full-length are, as a rule, a great deal more complex than those on the debut (one song shorter, but 6 minutes longer overall), and the pace is on the whole lowered to a more midtempo approach. While there are a great deal more riffs on ‘Infected nations’ than its predecessor, and fewer that immediately call to mind 1986 in San Francisco, there are hardly any that are close to being as memorable as those on, say, the “Enter the grave” title track or the excellent “Killer from the deep”.

The most obvious difference, and perhaps the biggest failing of the entire CD, is Matt Drake’s decision to change his vocal style quite considerably. He has received criticism in some quarters for sounding like a Tom Araya imitator, and while it was plainly obvious who he was emulating on ‘Enter the grave’, there was no denying how good he was at it, and his voice was one of the band’s biggest draws. By contrast, the atonal yell – somewhere between latter-day Cavalera and Burton C. Bell – he has switched to for ‘Infected nations’ is a constant source of irritation and kills more than one song stone dead when the chorus arrives. One of the worst offenders in this sense is “Now demolition”, which is a bland and uninspired song on the whole anyway, but the endless, dragging chorus (“Dem-o-li-tion/Dem-o-li-tion/Now! Dem-o-li-tion/Dem-o-li-tion... Now!”) is almost painful to behold.

Not that I want to make this review seem overly negative; few of the songs suffer any serious faults beyond the vocal display, but the youthful exuberance that previously made up for the lack of originality seems to have been lost somewhere in the transition between the styles Evile have travelled between.

Ol Drake’s guitar solos remains a real source of inspiration – varied, technical and often visceral, the songs tend to bristle with sudden intensity whenever he is left off the leash. On the whole though, it seems that in their quest to find their own place in the world, they have lost site of the shore to a degree, and seem to be indulging in complexity for its own sake at the expense of some crucial excitement.

Finally, I don’t want to make it look like I’m kicking a band when they’re down, and hope they can recover from the tragic death of bassist Mike Alexander to return with a stronger 3rd CD. Striking a balance between the Devil-may-care charms of ‘Enter the grave’ and the originality of ‘Infected nations’ would no doubt produce a more satisfying product, but that will be the least of their concerns in these tough times.

(Originally written for http://www.metalcdratings.com/)

Evile is a new thrash metal band from the U.K. They have already released one album called "Enter The Grave", which was great. Of course, I was hungry to find out if the band had the same spirit still, and I can say for sure that they do!

This album's music is pure darkness. It sounds like the band really has been working on their songs to make them sound dark and spooky. You can hear it from Matt's devastating vocals, to Ol's vicious guitar work. It was a pleassure for me to hear this album, just right after Megadeth had also released a new thrash record. 2009 has been a great year for thrash. All the old bands (except Anthrax) have returned, and are making quality music again. If this wasn't enough, you got the new bands, who are actually very good too. Many thrashers don't like these new bands, because they mean that the new kids are just ripping the old good 80's stuff. I don't share their opinion.

What makes this album so interesting is that Evile actually manage to do something new in the genre of thrash metal. I've never heard this style of singing before, for example. The album is more melodic than "Enter The Grave" was, but that is really not a bad thing! They manage to do something Testament is very good at too, and that is to combine heaviness with melodicness. Now, I'm not saying that they're ripping Testament or anything like that, but it's in the same genre.

On the first album, Matt Drake could sound very much like Slayer's Tom Araya, but I think he realized that. So he decided to sing in a more dark and melodic way instead. I remember the first time I heard the song "Infected Nation" in July, and I thought "Wow, this was different from Enter The Grave!" ETG wasn't a bad album, but sometimes it could get a little repetetive.

The guitar on this album is pretty thrash standard, while throwing in some cool new riffs at the same time. Ol isn't only good at riffing. He's got some great solos here and there too. However, I have to say that I can still hear the Slayer influence at times. Like in the beginning of "Metamorphosis". Slayer uses that kind of guitar playing very often. But hey, if you're gonna play thrash, you will almost always sound like some other band. It's hard to find your own style in thrash. So that's why I'm impressed with what Evile managed to do with this record. Of course, they don't have completely their own style either, as I said earlier. But they're at least not ripping songs completely!

The drumming is standard thrash metal. It gives the album the heaviness it needs to be called thrash! It can be really intense at times. And it's not hard for me to say that it's a lot better than fucking Lars Ulrich's drumming! So I would advice you to go check this piece of work out, if you're a thrasher of course. You won't feel like their ripping 80's stuff or anything like that. So have a good time with... INFECTED NATION!!