| Musical Style: Thrash/Metal | Produced By: Tiago De Souza |
| Record Label: Retroactive | Country Of Origin: New Zealand & Brazil |
| Year Released: 2018 | Artist Website: |
| Tracks: 12 | Rating: 85% |
| Running Time: 56:57 |
How much metal do you want, and how much metal do you need? Answer most fitting - at least as far as it concerns this reviewer - walks a fine line between both sides (want or need) of the metal fence, according to taste. My Want list, for instance, is instinctive to a melodic form, including but not limited to melodic metal but also that of the power, progressive, doom and traditional metal varieties. As for the extreme and thrash metal genres, I have little if any Need, particularly former in that much of the so-called grinding vocals associated with the category tend to, well, ‘grind’ on my nerves. I am at times, however, inclined towards the latter, but it has to be also thrash and a whole lot more, or more specifically that which also trends towards the melodic. By that, I am referring to old school Deliverance of the iconic self-titled debut (1989), Weapons Of Our Warfare (1990) and What A Joke (1991) to feature the soaring lead vocals of Jimmy P. Brown II.
Hence, turning me away from thrash metal is not necessarily musical direction but rather vocals, which I find trend towards the abrasive if not outright overbearing. Whereas that might be overstating things, it also brings us to the latest thrash based band to receive an Angelic Warlord review, Perpetual Paranoia. Setting Perpetual Paranoia apart and its summer of 2018 Retroactive Records debut The Reapers is how it follows a pattern similar to early Deliverance by joining the best aspects of the heavy and melodic. It begins with how Perpetual Paranoia features vocalist Dale Thompson, better known for his work with Christian hard rock veterans Bride, but also includes Brazilian guitarist Tiago De Souza, also of distinct acclaim as part of Bay Area thrash act Hand Of Fire. No doubt, Perpetual Paranoia draws upon a thrash basis in light of De Souza’s influence but also avoids the pitfall of repetition that can plague the style in no small part to the melodic vocal sensibilities essential to Thompson.
Minute long introductory piece “Deuteronomy 12:3” gets the album off to a fitting ominous start with its nightmarish keyboards and offbeat narration from the passage in question. The narration carries over to the start of the albums title track, as the hammering guitars that take over set the remorseless tone as periodic outbursts of double bass, intricate soloing and Thompson’s at times towering and others assailing vocal delivery lead the malevolent way. Periodic time signatures help lend to “The Reapers” a technical thrash feel.
The manner in which ensuring number “Whatever It Takes” cuts in fast and pointed reminds of the Deliverance classic “Flesh And Blood” (off Weapons of Our Warfare). No, “Whatever It Takes” might not be the eight-minute powerhouse that is “Flesh And Blood” but is formidable nonetheless, as found in its brawling demeanor and impudent refrain that strongly suggest, ‘Whatever it takes my spirit is yours!’ Two songs in and the work of De Souza reminds me of Glenn Rogers (Deliverance).
Lone track in which I struggle to identify is “I Say Jesus”, which plays up the thrash elements a bit much for my taste. Problem revolves around the amount of distortion and effects added to vocals, with the upshot a setting I find to slant towards the repetitive. It otherwise delivers the needed ingredients in the form of sledgehammer guitars and terse mid-tempo tempo to match. I can see thrash fans better embracing it.
I lean towards “Your Sin Will Find You Out” as albums most doom-like. It revels in the melancholic and sinister, plodding to bristling bass and acidic guitar leads but also not forsaking accessibility from the subtly catchy refrain to repeat the songs title in murky fashion. In the end, “Your Sin Will Find You Out” proves Perpetual Paranoia not a one trick pony in that there is much more to it than thrash.
“The Veil” starts to a growl prior to taking off at a near speed metal clip, contrasting from its predecessor with its freight train like mentality and curtly bearing, particularly as it pertains to its indefatigable refrain. Lending to the menacing appeal are well-timed double bass explosions and Thompson’s lower register vocal angst, which confirms unequivocally he feel at home within thrash confines.
“The God Syndrome” also moves at an elevated tempo, although to not quite the same heightened extent. The bluesy guitar opening provides a misdirect to the metal onslaught to ensue, as the anthem like guitars that cut in reveal a heaviness that touches upon classic metal in further playing up the aggression while subtly reinforcing hooks all the same. Impression left is a Live To Die outtake, and a very good one at that.
Perpetual Paranoia delivers a semi classic in “Romance X” that is not so much albums best track as potentially song of the year. It separates as a chaotic five minutes peculiar to a chug-a-chug-a-chug-a thrash like tempo, spoken word portions to remind of Alice Cooper, intricate timekeeping and twists and turns of a near progressive variety while not losing its combative focus. Topping things off is a chorus for the ages in which the songs title snarls in acrimonious fashion.
“Holy Ghost” slows impetus to a hulking mid-paced grind, biting its length in portentous form in making an imperious statement (for its acute verse sections) as a near operatic flair also asserts (noting the every bit rancorous refrain). Booming bass serves to heighten further the unearthly air. Instrumentally, De Souza pushes the envelope with his exacting lead guitar.
“Let The Dead Bury Their Dead” ensues in joining the albums most melodic. Specifically, it touches upon straight on metal, bringing to the fore a non-stop and hook filled chorus while interspersing throughout instrumental moments of a tumultuous form. The breakdown at the two and a half minute mark has melodic metal written all over it, as crazy good soloing decorates the backdrop. Even cooler is the bluesy Kinetic Faith style acoustic guitar closing the final seconds.
“Ten Thousand Saints” comes across no-nonsense as a thrash and doom-metal hybrid. It gives prominence to a bombastic edge, with its swaggering bass solo opening setting the bottom heavy tone and flailing guitars playing every bit the overpowering role in persuading as perseverant if not all out dogged. Awe-inspiring feel to the expansive refrain helps set “Ten Thousand Saints” apart as one of the albums showcase tracks.
“Dream Before The Nightmare” closes The Reapers to a dramatic semblance. It begins with how it tempers things in terms of heaviness (even if slightly) in taking a melodic heading but also encompasses equal parts emotional vestiges, as manifest in the demonstrative refrain. Guest guitarist and brother Troy Thompson handles the scorching lead guitar.
Fans of early Deliverance will identity with production from how it emphasizes an apt forward guitar mix but also allows room for plenty of bass and drum projection. Enough polish but not so much as to take away from the group’s raw vehemence. Likewise, the darkly tinted blue cover art aligns with the stark nature to the music at hand.
Lyrics are unequivocally faith based. It begins with “Whatever It Takes”:
Whatever it takes
Name above all names
I will do whatever it takes
My spirit is yours
All things to all men
That some might be saved
I am my brother’s keeper
Send me to the enslaved
- but also includes “I Say Jesus”:
If I say Jesus, you say Christ
If I say grace, you say Light
If I say saved, you say right
And I know neither one of us want to die
I cling to hope, I grieve in pain
I trust Jesus, I die in fame
I watch you die, I want to cry
You were so brave upon the stage
“The Veil” draws upon the Book of Revelation:
The mark of the beast, Armageddon, the four horsemen
The fallen prophet, Babylon the Great, wormwood star
Stinging locus, giant hailstones, seven plagues
Bottomless pit, the lake of fire, the Apocalypse
This is the testimony of Jesus Christ
Uncovering something hidden
Means it was present all the time
The Vein that hides in the mind
“Romance X” delivers an anti-porn message:
Submit yourselves to God, your body is not your own
Transforming of your mind, then you will outshine
Depravity and disappointment, in the end you die
Wrong is wrong in the worst way
And the poison is pornography
Then you die chasing the high
Repeat listen to The Reapers reveals the thrash label to be fair but also limiting in that there is more to Perpetual Paranoia all the same, as found in its forays into traditional, doom and even melodic metal. As previously referenced, the band is thrash but also does not restrict itself in that sense either. This reviewer’s experience is that The Reapers is the album Deliverance should have made in follow up to Weapons Of Our Warfare- or more specifically, it walks a fine line between darker Bride albums Live To Die and Silence Is Madness. Label it what you will, The Reapers is a standout showing from a new band that I hope to hear a great deal more from in the coming future.
Review by Andrew Rockwell
Track Listing: “Deuteronomy 12:3” (1:10), “The Reapers” (6:07), “Whatever It Takes” (4:09), “I Say Jesus” (5:23), “Your Sin Will Find You Out” (5:20), “The Veil” (5:19), “The God Syndrome” (5:19), “Romance X” (5:04), “Holy Ghost” (4:53), “Let The Dead Bury Their Dead” 5:05), “Ten Thousand Saints” (4:01), “Dream Before The Nightmare” (5:08)
Musicians
Dale Thompson - Lead Vocals
Tiago De Souza - All Instruments Except For Drums
Derek Dorneles - Drums
Additional Musicians
Troy Thompson - Guitars
