When it comes to Bay Area thrash metal, there are two bands that sit atop the mountain forever entwined to its history; Metallica and Exodus. Both bands linked together by Kirk Hammett, both bands crucial to the Bay Area’s most destructive form of music. Exodus may not have their name in lights as Metallica does, but Exodus’ influence cannot be mistaken- and many point to them as being the one true progenitor of Bay Area thrash. Hatriot, a band that was started by Exodus vocalist Steve Souza in 2011, are a real chip off the ol’ block. Surprisingly, it isn’t just musically that Hatriot follows suit from Exodus, its a family thing too. While Steve Souza left Hatriot in 2015, his sons Nick and Cody continue on percussions and guitars with the latter taking on vocal duties once the older Souza returned to Exodus.
Hatriot does more than just follow on the Exodus path; they’ve loudly carved their own slice of the thrash pie. Led by Kosta Varvatakis shredding guitar work and Cody Souza’s blistering (sometimes ominous) vocal work, Hatriot may have found their Fabulous Disaster, ironically, also three albums in.
From Days Unto Darkness is a relentless pummeling of thrash metal’s best qualities; machine gun percussion work (I’m a sucker for some great double bass drums), shredding guitars, soaring solos, and vocals that does the growling well, and the screaming even better. Tracks like “Organic Remains” and the blistering “Carnival of Execution” showcase the band’s ability to craft songs that are equal parts urgency and solid musicianship. Thematically, From Days Unto Darkness covers the usual thrash metal spread; the end times, death, destruction, and humanity’s failing graces- all done with equal breakneck, ear piercing destruction sonically. “World, Flesh & Devil” is perhaps the album’s best outing- a raging beast of a song, that if carnage could be written in music form, this is it incarnate. At 4:26, it is one of the shorter tracks of the release, but much of the album features in at the 6-7 minute mark- a trademark of thrash metal’s desire to not only showcase talent but to do it over extended periods.
What the album lacks perhaps is that one magnum opus of a track. Sure, it’s not easy for any band to write “Master of Puppets”, but From Days Unto Darkness rarely takes a breather. It’s mostly positive, but while Master had at times, slow interludes to let you catch your breath, Hatriot takes absolutely no prisoners- staying true to their thrash metal heritage. If you’re not quite up for it, this album will hammer you into a stupor.
The halcyon days of Bay Area thrash metal may be long resigned to nostalgic documentaries, but Hatriot are not interested in just being a throwback to their roots. From Days Unto Darkness is not for the weak and if this is the sign that thrash metal is alive and kicking, then the future and present are in damn good hands.
Crossed Keys – Saviors
Saviors shows the work of well-seasoned musicians finding new energy in old sounds
Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.
Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.
For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.
Pine – Pine
Pine’s debut album is a kind of hypnotic melancholia
Where did Ottawa’s Pine come from? It’s a question worth asking after listening to their painfully gorgeous self-titled debut album. Pine use the phrase “doom and gloom never sounded so sweet” to describe their sound, and true to that, this 11-track outing is filled with the kind of hypnotic melancholia that became the playbook for a great many Midwestern emo bands that emerged in the late 90s/early 2000s. The biggest difference here is that while Pine have the heartbreak down pat, their musical sense of loss is lifted slightly by the airy, more wistful sounds of their guitar-strewn songs. Sure, there’s a lot that sounds like a great Mineral record or a Gloria Record album, but there’s also traces of Florida indie/emo band The Rocking Horse Winner and at times, bands like Rainer Maria.
Pine are buoyed by the great vocal work of Darlene Deschamps. Her voice soars through tracks like “Memento” and the terrific “Lusk”. The latter in particular is a great example of how Pine lull you into a sense of calm before it explodes in a collage of symphonic distortion and post-rock twinkling. In “Sunder” they ascend to louder, more expansive sounds. The song is a great combination of thick, fuzzy guitars, mid-tempo percussion work, and that pained vocal delivery that gives the song an extra punch in the guts.
The album took an impressive 2 years to finish, and you can hear the trials and tribulations of that gestation period through the songs. There’s pain, sadness, anger and frustration in songs like the intro “Within You” and the more new emo-esque “Swollen”, but also beauty, and as the album concludes, a sense of incredible catharsis. The record SOUNDS great too, with production values (by a production team that includes Will Yip, who has helmed records by Circa Survive, Braid, Saosin, and the Bouncing Souls to name a few) adding to the grand cinematic finish of the record.
For those who love what emo was in the mid to late 90s will find much to like about Pine just as much as those who like Explosions in the Sky and their post-rock brethren. Pine have been crafting their sound over the last few years and while their previous EP Pillow Talk showed a solid foundation, this new self-titled record is the work of a band close to the height of their abilities. Moving, beautiful, and littered with life’s roller coaster of emotions as songs, Pine is definitely recommended listening.