| Musical Style: Thrash Metal | Produced By: Jimmy P. Brown II & Jim Chaffin |
| Record Label: Roxx / Retroactive | Country Of Origin: USA |
| Year Released: 2018 / 2024 | Artist Website: |
| Tracks: 8 / 10 | Rating: 85% |
| Running Time: 31:20 / 39:03 |
Sometimes you have to answer to the critics, regardless if they are right or wrong. Whether or not the critics are right or wrong as it pertains to Deliverance is debatable, but what few can debate is the fact there are not many bands that have had more critics in which to answer than Deliverance. Hence, how it should come as no surprise that the critics remain in full force concerning The Subversive Kind, the eleventh Deliverance studio album released jointly via Roxx Records and 3 Frogz Records on February 23, 2018.
Later a February of 2024 Gold Disc Edition re-issue on Retroactive Records, The Subversive Kind features a complete re-master from Rob Colwell (Bombworks Sound), a 16-page booklet attributing to Scott Waters (No Life Til Metal Graphics) and cardboard O-ring for added elegance and protection. Bonus material comes in the form of two new studio tracks Deliverance recorded specifically for the re-issue.
Better known as the ‘Big D’, Deliverance got its start playing a hybrid of melodic speed metal and thrash on its groundbreaking 1989 Intense Records self-titled debut (85% Angelic Warlord review) and every bit acclaimed 1990 Intense sophomore effort Weapons Of Our Warfare (90% review). On third album What A Joke from 1991, however, Deliverance started to branch out by interspersing its signature speed metal and thrash with occasional forays into ‘technical metal’, a form that defined follow up releases Stay Of Execution (1992), Learn (1993), River Disturbance (1994) and Camelot In Smithereens (1995).
Critical consensus was divided over Deliverance’s newfound technical metal ways, with most reviewers supportive (noting our 85% review of Stay Of Execution) but not necessarily fans, whom longed for the days of the self-titled debut or waited with bated breath for ‘Weapons… Pt. 2’. Alas, it failed to materialize in that Deliverance further distanced itself from fan expectations with the industrial metal of Assimilation (2001), an underrated work that received a well-deserved 85% Angelic Warlord review. Nevertheless, the group’s followers started to get their hopes up on subsequent efforts As Above - So Below (2007) and Hear What I Say! (2013) from how they revisit the groups technical metal ways while imparting thrash based moments not unlike the glory days of the past.
Enter The Subversive Kind, which represents a ‘return to form’ to the Deliverance old school speed metal and thrash beginnings. The groups press material summarizes accordingly:
“We’re going to give you the fan what you’ve been asking for and what you want- the old school thrash days of Deliverance. Everything you’ve always loved about Deliverance since the Greetings Of Death days you’re going to get it with this record”.
True to form, Deliverance has recorded in The Subversive Kind and old school thrash album complete with expected trimmings in the form of unrelenting fast tempos, aggressive riffing, tenacious drumming, shredding guitar leads and middle register vocals on the terse and brusque side. Despite the ‘Big D’ delivering the thrash album as promised, critical consensus again rears its ugly head in that many fans are still unhappy. What is the problem?
In visiting various Facebook pages and hard music message boards, complaints revolve around a lack of melody to The Subversive Kind material. I am not going to beat around the bush, but it IS an album distinctive to thrash metal, a genre not necessary known for a great deal of melody to begin with, so what was everyone expecting?
Regardless, it is unlikely anyone is going to suggest that first two cuts, “Bring ‘Em Down”, a furious assault of fragmenting riffs and pummeling drums, and “Concept Of The Other”, four minutes of pure aggression about subtle as an incoming hand grenade, are accessible. Likewise, third piece “Center Of It All” ups tempo to speed metal levels while slowing for its ‘chugga chugga’ instrumental interlude but also challenges to draw in on repeat listen. Impression left (and this applies to all the albums material) is not necessarily melodic but rather catchy in terms of the riffs and hooks.
Potential problem revolves around the fact Deliverance aficionados might have been expecting a return to the MELODIC (emphasis added) speed metal and thrash of Deliverance and Weapons… but the fact is this is NOT what we have in The Subversive Kind. Rather, by a return to form the group is hearkening back to its 1985 Greeting Of Death demo and thrash based What A Joke material with their emphasis on lower register vocals as opposed to the ‘Metallica cross Queensryche’ sound of the iconic first two albums. In other words, founding member and vocalist/rhythm guitarist Jimmy P. Brown II sidesteps any high-pitched vocals of the past in favor of reaching down vocally with a style I might describe as course and gruff but in step with the thrash nature to the material here.
That said, in no way am I implying Deliverance lost its touch for melody; rather the opposite holds true as found in “The Black Hand”. Yes, this one is thrash as anything here - opening seconds feature a breakdown that brings to mind the Weapons Of Our Warfare title track - but also smoothes for a surprisingly catchy refrain in which Brown switches to the somber classic tenor characteristic to the groups technical metal days. Along similar lines, “The Subversive Kind” also finds Brown unveiling the even side to his delivery on a cut once more topped off with melody while not backing from the frenetic if not incensed feel inherent to each of the albums cuts.
The area in which I agree with those voicing concern, however, pertains to the album being somewhat short in featuring eight songs and run time of less than 32 minutes, which almost places it in EP territory. Enter the Retroactive re-issue and the two bonus tracks in question, “C-One-9” and “Paraphrased”, which help push The Subversive Kind into full-length, forty-minute territory. Musically, each stays true to the albums thrash and speed based tendencies, with former my favorite of the two from aligning immediately catchy hooks with a raucous tempo to speak of the self-titled debut and latter taking the more expeditious speed-based form but not backing from the hook driven mentality. Regardless, the two bonus tracks are excellent.
Where I must differ is with those that suggest The Subversive Kind places little emphasis on guitar solos. Repeat listen reveals this a misnomer when factoring how each of the albums tracks (including the bonus material) showcases a lead guitar break of decent length to feature both Greg Minier but also original Deliverance guitarist Glen Rogers, whom re-joined the group in time to lend his brash soloing abilities.
Consider “Epilogue” in this capacity, as found in its affiliating subtle melody and thickly woven Impellitteri style guitars with a stretch of soloing to reflect a bluesy feel. Likewise, “Listen Closely”, thrash all the way but also imparting some slower doom like tendencies, and “The Fold”, this reviewers choice cut with its anthem like Maidenseque riffs and dogged as it gets refrain, are also emboldened with lead guitar but of a flashy variety.
One cannot help but ask if any of the so-called critics even bothered closely listen to the album. It reminds of a fan at a message board who posted a bucket list of problems he had with The Subversive Kind only to sum up by stating, “I only listened to the album once’. Only a single listen? Unbelievable! Let’s face facts: on occasion, an album needs time to make a case for itself, and The Subversive Kind is one such album. I know first impressions are lasting, but they are also not always accurate in the hard music world in that if like me, your music collection is full of CD’s in which on first listen you formed impression A of album B, but with repeat listen came to conclusion C, which could not differ more from impression A. Does that make sense?
My advice to those up in arms or disappointed with The Subversive Kind is to take a deep breath, grab a cup of coffee and sit down, relax and clear your head for a couple minutes. Then approach the album a second time with an open mind but also aside expectations nor come to any immediate conclusions. Rather, give the a minimum of half dozen listens - or do like me and spend the better part of a week listening to it in the car during the commute to and from work - and then form a final opinion.
I knew going in that expectations are going to approach the unreasonable and emotions correspondingly high as it relates to any new Deliverance album returning to the thrash and speed metal days of old. That said, I also feel it is important to temper expectations accordingly and see The Subversive Kind for what it is- a straight on thrash album but not necessarily a return to the melodic speed metal of Deliverance and Weapons Of Our Warfare. That said, if you like take to the two Deliverance albums, then I can see The Subversive Kind appealing to your tastes but also accept it as its own unique work, which I cannot help but feel what the ‘Big D’ intended all along. The Retroactive re-issue further builds upon this with its expanded packaging but more important two high quality bonus tracks that extend the album into full-length territory.
Review by Andrew Rockwell
Track Listing: “Bring 'Em Down” (3:37), “Concept Of The Other” (3:52), “Center Of It All” (3:40), “The Black Hand” (3:50), “Epilogue” (3:59), “Listen Closely” (3:26), “The Subversive Kind” (4:12), “The Fold” (4:30), “C-One-9” (3:55), “Paraphrased” (4:01)
Musicians
Jimmy P Brown II - Lead Vocals & Guitars
Greg Minier - Guitars
Glenn Rogers - Guitars
Victor Macias - Bass
Jim Chaffin - Drums
