Wraith are a band who have always seemed perfectly happy doing what their musical forefathers did: cranking up the volume, playing at ridiculous speeds and delivering the sort of blackened thrash that will have you throwing yourself headfirst into the nearest mosh pit.
With their new album Descent Into Darkness, out on 13 November via Prosthetic Records, the Indiana quartet return with ten tracks of old-school metal, drawing on the aggression of Venom, the speed of early Slayer and the punk attitude of Motörhead. There’s a darker atmosphere this time around too, with the horrors of the First World War providing much of the inspiration. Frontman and guitarist Matt Sokol’s day job as a teacher gave him the chance to explore the history he teaches every day through his music.
The band wastes little time getting down to business on the opening title track. An ominous introduction gives way to pounding drums, fierce riffing and Sokol’s harsh, almost barked vocals, which sit somewhere between black metal and traditional thrash.
‘Final Warning’ keeps things moving with some bludgeoning riffs and a cracking solo, while ‘Atomic Queen’ throws a little rock 'n' roll swagger into the mix. Bassist Chris Petkus stands out here, his gritty playing adding plenty of weight and character to the track.
‘Terminal Embrace’ slows things down a touch, swapping some of that frantic speed for a much heavier groove. It's also a chance for Jason Schultz to show what he can do, adding some tasty melodic leads without going overboard. He and Sokol work so well together, knowing when to keep things simple and when to throw in a little extra flair.
That slightly more measured approach doesn't last long, though, as ‘Over The Top’ brings back the urgency. Inspired by soldiers climbing out of the trenches and charging into battle, the track shifts between tempos to keep you on your toes. It's also where drummer Mike Szymendera really gets to shine. He's got a hell of a job keeping up with some of this stuff, but makes it sound almost effortless as he throws in some tasty fills.
Elsewhere, ‘Misery And Malice’ opens up with some squealing guitar leads and razor-sharp riffing, while ‘Lord Of Wolves’ introduces a more sinister atmosphere through its darker melodies. ‘Chainscraper’, meanwhile, leans into the band's punk and speed metal influences.
Perhaps the biggest surprise comes with ‘No Man’s Land’, where Wraith allow themselves a little breathing room. The guitars are given space to develop, creating a sense of unease that complements the album's wartime themes, while closing track ‘Back In The Trenches’ returns to more familiar ground, bringing the album to a bludgeoning conclusion.
If there's one thing I'd have liked Wraith to do a bit more of, it's mix things up. Don't get me wrong, there's some great stuff on here, but around the middle of the album a few of the songs do start to blend together. It's not a massive issue, but I couldn't help thinking that a few more moments like ‘No Man's Land’ would have made things that little bit more dynamic.
Still, Wraith succeed here because they clearly understand their strengths as a band. Sokol brings the attitude, Schultz provides some welcome musical detail, Petkus adds weight and character, and Szymendera keeps everything tightly controlled.
Descent Into Darkness is an excellent example of how old-school thrash can still sound exciting without desperately trying to reinvent itself. The grittier lyrical themes add some substance, the musicianship is consistently impressive and, most importantly, the songs are packed with the sort of riffs that make it impossible to sit still.
Wraith aren't interested in rewriting the heavy metal rulebook; they're far too busy using it to beat you to death. Is Descent Into Darkness going to change the face of extreme metal? Not quite, but does it deliver 35 minutes of filthy, aggressive, blackened thrash that makes you want to crack open a beer, bang your head, raise your fists, turn the volume up and annoy the neighbours? You'd better bloody believe it.