Onslaught – Sounds of Violence

20 February 2011

1. Into the Abyss
2. Born for War
3. The Sound of Violence
4. Code Black
5. Rust in Pieces
6. Godhead
7. Hatebox
8. Antitheist
9. Suicideology
10. End of the Storm
11. Bomber (Motorhead cover)

There was a lot of thrash metal in 2008, including Onslaught, who just emerged from a very long hiatus. Back then the ‘new’ thrash bands, whether debuting or comebacking, were welcome relief from the usual trendy shit. The same thrash renaissance enjoyed a glowing 2009 and an even more crowded 2010. This year there’s little sign that thrash is gonna take a break. Almost two years since their return, Onslaught deliver what is arguably their best album to date. Simply put, “Sounds of Violence” just kills, kills, and kills.

True to their cinematic vision for an intense audio experience, a rousing symphony greets the listener on the opening instrumental “Into the Abyss,” which trembles and thunders in grand Wagnerian style. Once the violins and horns bow out, “Born for War” unleashes pure delicious hell. Onslaught’s brand of thrash relies on extra large riffs and battering percussion, the kind that causes your blood to circulate faster. Such a treat is what makes “Born for War” so invigorating. The twin guitars totally grind and shred, Sy Keeler’s vocals are an ugly rasp, and the general mood is pretty foul. In short, it’s thrash metal done the right way; a tad complex but with enough grit to place it between the dark frontiers of the melodic and the extreme dominion.

If the listener finds “Born for War” delectable, the same flavor permeates the title track, being another in-your-face salvo marinated in vitriol. Much darkness and evil looms over “Code Black,” a sprawling six minutes of grimness blessed by a crushing pace. The speed burns for the anti-religious “Godhead” whose lyrical content is very inappropriate for politically correct ears. Those who don’t mind a little extra hellraising will find it pure joy, though. The same lyrical themes occupy “Antitheist” and “Suicideology,” both anthems that showcase Onslaught’s penchant for nihilism. Its heaps of fun hearing the band tear through the usual topics with such relish—war, violence, and destruction on a biblical scale are the choicest cuts of “Sounds.”

As the album wraps the listener is treated to a fitting end with yet another instrumental. Hang on for a couple of moments and Onslaught deliver their final salute—a fitting Motorhead cover–until the next album. With “Bomber” the British quintet pay tribute to their childhood heroes. It’s a worthy tribute from a band who’ve grown to become a fearsome musical unit.

9/10