El rostro de la muerte

Hirax, Hirax… their early albums from the 80’s passed me by… completely. I’m not sure why provided that theirs were perfectly acceptable slabs of old school thrash. I guess it was the short, bordering-on-hardcore outbursts serving as the tracks on those that must have pulled me back… nah, not likely; we were just walking different trajectories, me and the band, at that time…

and we still were, at the dawn of the new millennium, when the band splashed this “Barrage of Noise” as a reunion stint, a heavier proposition with longer cuts. In fact, it’s a bit far-fetched to talk about a reunion here as from the original line-up it was only the singer Katon W. de Pena that showed up. Nothing too striking albeit strictly old school, this barrage had a superb follow-up three years later in the form of “New Age of Terror”, classic thrash at its smashing finest, the new recruits doing a great job in producing the band’s finest hour.

A series of EP’s, splits and compilations followed before the guys decided to scare the audience with this face of death. Fairly effective scare tactics for sure, lasting for over-50-min, and largely containing furious thrashing bolts, “Chaos and Brutality”, a remnant from one of the previous EP’s, nicely summing up the agenda with its title. Well, there’s not that much chaos to be come across, truth be told, but the brutal part is well justified, and not only by “Horrified”, a ripping piece of aggression with overt faces… sorry, shades of death. Yep, no one’s kidding here, but the title-track does take it easy, introducing a mellower layout and a nice catchy chorus. The short epic instrumental piece “Battle of the North” is another needful respite, including the dark doomy riffs on “Violent Assault” which is rather a steam-rolling assault, but those are just short breezes in a sea of uncompromising classic thrash tunes, “Satan’s Fall” giving a more ambitious, more variegated rendition of the latter canons as a more sprawling epitaph.

De Pena is in his nature as always, helping the cause with a couple of piercing screams, keeping his performance on the dramatic side for most of the time, spitting the lyrics with spite and passion on the more extreme moments. And those are quite a few here, this album decidedly more aggressive than its predecessor, easily matching the vehemence of the band’s 80’s recordings. It’s a clear sign that Hirax mean business, even more so than in the past, and that de Pena and his new colleagues are intent on becoming an indelible part from the old school resurrection movement. Another chapter from their legacy (“Immortal Legacy”) arrived five years later, another high-class collection of hyper-active retro thrash tunes to the bone, the guys keeping the memories of themselves alive, also making sure there’s no stagnation witnessed on the headbangers’ balls around the world.

Crashing forth with all the subtlety of a bull in a china shop comes thrash scene 'legends' Hirax with only their fourth full-length since initially forming in 1984, "El Rostro De La Muerte". Hirax's reputation in the American thrash scene comes as much from singer and only mainstay Katon de Pena's unbridled energy and dedication to the cause of thrash down the years as does the music his band have peddled, and this album is the perfect exposition of that.

2008's "Get Thrashed" documentary gives de Pena some of the credit he deserves for having pushed his band year after year while numerous others sold more, or split up around him (or both). It is through such means that I know the man best as despite owning 1986's 15-minute album (!) "Hate, Fear and Power" on vinyl (it's the only way) I have never liked the music of Hirax as much as I like and respect Mr. Hirax himself. Hirax come 2009 are still thrash to the bone, based on a learning of ultra-aggressive unrepentant tomes that recall Dark Angel in their brashness, Overkill in vocal snarl and (recent) Exodus in both band's desire to tear you limb from limb and leave you dying by the side of the road. Save for the unexpected piano interlude that is "Cuando Cae La Oscuridad (When Darkness Falls)", the 14 songs here crash bang and wallop by in 51 minutes in what could be most democratically described as 'consistent' across the album's duration. The title track, "Blind Faith" and Slayer-infused "The Laws Of Temptation" symbolise the bands' fairly static approach to song-writing as each and all fly by on a cocktail of high energy but largely unmemorable riffs that suggest of a band content with their position in the scene. It must be said that the production job to be found here could be partly to blame for the lack of identity found in the riffing as the desire for an 'in your face' feeling results in proceedings becoming rather nullified and many riffs being indistinguishable from the next. Thrash requires a high level of technical proficiency and whilst I would be loathe to dismiss Hirax as amateurs on their instruments, the lack of overall inventiveness does not give the impression of the most technically accomplished band thrash metal has ever given us.

In listening to "El Rostro De La Muerte" you will probably think as I did: good energy, admirable dedication, no truly remarkable riffs or songs. And that's even with the benefit of a few listens. With this album number four, Hirax have done no harm to their b-league thrash status in an effort which alas does also typify that very position they find themselves in.

Originally written for www.Rockfreaks.net

I am always encouraged when I see a true thrash band like Hirax, obscure in the 80s but having maintained a steady cult following ever since, still plugging away endlessly. Katon W. De Pena is an elder statesman of the thrash metal genre, but even though the Hirax releases this century have been consistent and loyal to the sound they helped pioneer in the 80s, I can't help but feel that their best days are long behind them. El Rostro de la Muerte does not exactly suck, in fact it's a respectable and solid full-length album with 14 tracks and a whole lot of mean attitude. But as far as the riffs go, there are very few here which feel as if you haven't already heard them a hundred times, leaving only De Pena's wild versatility as a frontman to entertain you.

He barks, he snarls, and he is the one man alive who can merge almost soulful tones with a harsh rasp ala Mille Petrozza. He takes tracks which are otherwise snooze fests that any thrash guitar player could write in 10 minutes, and makes them that much more edgy in the process. Most of the first half of this album blazed straight on by me without much to appreciate, though Pena really sets "Eradicate Mankind" on fire. Later, better tracks begin to appear like the rampant Slayer-ism that is "Horrified"; the total slugger "The Laws of Temptation"; and the closing 'epic' "Satan's Fall". But, as far as these are in the short term, they still lack for any amazing riffing that will make you want to put them on repeat.

Where El Rostro de la Muerte does NOT suffer is in the production. It's dense and destructive and as explosive as a mosh pit this band must see on a normal night of touring. The bass is thick, the drums smash and the guitars are just perfectly toned to blow up all of your speakers. Pena's voice cuts through like a cheap set of warehouse knives you bought through an infomercial, and I did bang my head during a few of the songs. It all sounds almost as powerful as Destruction's post-reformation masterpiece The Antichrist. If these same tones had been married to a set of memorable tracks, we'd have one of the better thrash albums of the year. Alas, it's just a violent good time that you will forget shortly after.

Highlights: Horrified, The Laws of Temptation

-autothrall
http://www.fromthedustreturned.com