Jump to content

Havok - V


PotentialBand

Recommended Posts

Denver Colorado based thrash band Havok is back with their aptly titled fifth studio album, “V”. Perhaps the forerunner of the thrash resurgence of the late 2000s/early 2010s, Havok made a name for themselves early on, quickly gaining a following with their first two records, “Burn” and “Time is Up.”

“V” has been a highly anticipated release for Havok, as it marks an important moment in their discography. Its no secret to the metal community that Havok has been somewhat in the shadow of their 2011 album “Time is Up”. By far their most popular record, their live set still consists of 3-5 songs from that album - almost 10 years and 2-3 releases later - with albums like “Burn” and “Unnatural Selection” at most seeing a single song of representation (which is a shame, “Burn” had a very distinct style, great song structures, and a plethora of unique moments; its a vastly underrated album). 

“Time is Up” was a brutally fast, tightly crafted, expertly performed thrash release that had a “Havok” flair. In roughly 40-45 minutes they covered a large amount of ground in the thrash territory, and had established their dominance in the scene as one of the tightest and most talented groups.
 
However, it left little room for a follow up in that space - Havok needed to try new ideas and elements, and push more into their own voice. Unfortunately, “Unnatural Selection” featured very little experimentation, and “Conformicide” - while it did try new things on certain songs like “Ingsoc” - largely fell into the same space, with songs like “Claiming Certainty”, “Circling the Drain”, and “Wake Up.” 

Enter “V” - an album that both hits and misses the mark. 

The good news is that the band is trying many new ideas, while still delivering them in the Havok way. For starters, the song structures have been broken out of their typical formula, featuring a range from shorter, to longer and more narrative in format. David Sanchez’s vocals are simultaneously more shrill and more melodic, with sections of screams and singing being overlaid together. Songs have been extremely slowed down, featuring heavy grooves rather than intense speed. There are funky slap bass riffs again, and passages of melodic harmonies and acoustic guitars. Progressive elements - similar to those that, before, appeared solely on the track “Ingsoc” - are mixed in throughout. Some of the lyrics have moved towards a more thoughtful writing style, and are less “on the nose” as previous albums. The mix has is different as well; there is extra space between the instruments, and as a result each one now has more room to breathe, bringing the bass and drums to be the forefront. 

The musicianship as well is spot on. Reece Scruggs’ solos are fast, feature cleanly executed taps and picking runs, and are catchier than usual. And as always, Pete Webber’s drumming is fantastic; precise, powerful, and with lots of flair, Pete is one of the best drummers of our time. The fact that he doesn’t use triggers makes it all just that much more enjoyable. 

The biggest downside of the album, is that even though there are these great ideas bouncing around, the band just struggles to pull them together cohesively. Many ideas feel unpolished, as if they ran with the first draft of a song, not stopping to fully refine or polish it. And overall the majority of the tracks lack a hook; they fail to hit the moment that truly grabs you, that will get stuck in your head and keep you coming back. The end result is a collection of songs that meld together rather than feeling distinct. If the riffs had been pushed further, and the song structures tweaked to deliver more clarity, the record could have been much more impactful. 

All that being said, there is still a strong and unique voice here. Elements are starting to feel unique to Havok; if you were to hear a song out of context you wouldn’t say, “that sounds like a Slayer riff”, you’d say “that sounds like a Havok riff.” Even if this isn’t their most polished release, it does indicate their footing is secure and that they intend to push themselves moving forward.

Link to comment
Share on other sites

  • 3 months later...
  • 3 months later...
  • 8 months later...
On 5/2/2020 at 4:29 PM, PotentialBand said:

Denver Colorado based thrash band Havok is back with their aptly titled fifth studio album, “V”. Perhaps the forerunner of the thrash resurgence of the late 2000s/early 2010s, Havok made a name for themselves early on, quickly gaining a following with their first two records, “Burn” and “Time is Up.”

“V” has been a highly anticipated release for Havok, as it marks an important moment in their discography. Its no secret to the metal community that Havok has been somewhat in the shadow of their 2011 album “Time is Up”. By far their most popular record, their live set still consists of 3-5 songs from that album - almost 10 years and 2-3 releases later - with albums like “Burn” and “Unnatural Selection” at most seeing a single song of representation (which is a shame, “Burn” had a very distinct style, great song structures, and a plethora of unique moments; its a vastly underrated album). 

“Time is Up” was a brutally fast, tightly crafted, expertly performed thrash release that had a “Havok” flair. In roughly 40-45 minutes they covered a large amount of ground in the thrash territory, and had established their dominance in the scene as one of the tightest and most talented groups.
 
However, it left little room for a follow up in that space - Havok needed to try new ideas and elements, and push more into their own voice. Unfortunately, “Unnatural Selection” featured very little experimentation, and “Conformicide” - while it did try new things on certain songs like “Ingsoc” - largely fell into the same space, with songs like “Claiming Certainty”, “Circling the Drain”, and “Wake Up.” 

Enter “V” - an album that both hits and misses the mark. 

The good news is that the band is trying many new ideas, while still delivering them in the Havok way. For starters, the song structures have been broken out of their typical formula, featuring a range from shorter, to longer and more narrative in format. David Sanchez’s vocals are simultaneously more shrill and more melodic, with sections of screams and singing being overlaid together. Songs have been extremely slowed down, featuring heavy grooves rather than intense speed. There are funky slap bass riffs again, and passages of melodic harmonies and acoustic guitars. Progressive elements - similar to those that, before, appeared solely on the track “Ingsoc” - are mixed in throughout. Some of the lyrics have moved towards a more thoughtful writing style, and are less “on the nose” as previous albums. The mix has is different as well; there is extra space between the instruments, and as a result each one now has more room to breathe, bringing the bass and drums to be the forefront. 

The musicianship as well is spot on. Reece Scruggs’ solos are fast, feature cleanly executed taps and picking runs, and are catchier than usual. And as always, Pete Webber’s drumming is fantastic; precise, powerful, and with lots of flair, Pete is one of the best drummers of our time. The fact that he doesn’t use triggers makes it all just that much more enjoyable. 

The biggest downside of the album, is that even though there are these great ideas bouncing around, the band just struggles to pull them together cohesively. Many ideas feel unpolished, as if they ran with the first draft of a song, not stopping to fully refine or polish it. And overall the majority of the tracks lack a hook; they fail to hit the moment that truly grabs you, that will get stuck in your head and keep you coming back. The end result is a collection of songs that meld together rather than feeling distinct. If the riffs had been pushed further, and the song structures tweaked to deliver more clarity, the record could have been much more impactful. 

All that being said, there is still a strong and unique voice here. Elements are starting to feel unique to Havok; if you were to hear a song out of context you wouldn’t say, “that sounds like a Slayer riff”, you’d say “that sounds like a Havok riff.” Even if this isn’t their most polished release, it does indicate their footing is secure and that they intend to push themselves moving forward.

Nice thorough review!  I really enjoy this album and would rank it fairly close to "Time is Up", although that one is still my favorite of theirs overall.  "Burn" was awesome, too.  I think these guys, along with Evile, Warbringer, and Angelus Apatrida are the best at leading the charge for modern thrash during this resurgence.  Warfect is another solid band, and freaKings too.  Loving every bit of it!

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Join Metal Forum

    joinus-home.jpg

  • Our picks

    • Whichever tier of thrash metal you consigned Sacred Reich back in the 80's/90's they still had their moments.  "Ignorance" & "Surf Nicaragura" did a great job of establishing the band, whereas "The American Way" just got a little to comfortable and accessible (the title track grates nowadays) for my ears.  A couple more records better left forgotten about and then nothing for twenty three years.  2019 alone has now seen three releases from Phil Rind and co.  A live EP, a split EP with Iron Reagan and now a full length.

      Notable addition to the ranks for the current throng of releases is former Machine Head sticksman, Dave McClean.  Love or hate Machine Head, McClean is a more than capable drummer and his presence here is felt from the off with the opening and title track kicking things off with some real gusto.  'Divide & Conquer' and 'Salvation' muddle along nicely, never quite reaching any quality that would make my balls tingle but comfortable enough.  The looming build to 'Manifest Reality' delivers a real punch when the song starts proper.  Frenzied riffs and drums with shots of lead work to hold the interest.


      There's a problem already though (I know, I am such a fucking mood hoover).  I don't like Phil's vocals.  I never had if I am being honest.  The aggression to them seems a little forced even when they are at their best on tracks like 'Manifest Reality'.  When he tries to sing it just feels weak though ('Salvation') and tracks lose real punch.  Give him a riffy number such as 'Killing Machine' and he is fine with the Reich engine (probably a poor choice of phrase) up in sixth gear.  For every thrashy riff there's a fair share of rock edged, local bar act rhythm aplenty too.

      Let's not poo-poo proceedings though, because overall I actually enjoy "Awakening".  It is stacked full of catchy riffs that are sticky on the old ears.  Whilst not as raw as perhaps the - brilliant - artwork suggests with its black and white, tattoo flash sheet style design it is enjoyable enough.  Yes, 'Death Valley' & 'Something to Believe' have no place here, saved only by Arnett and Radziwill's lead work but 'Revolution' is a fucking 80's thrash heyday throwback to the extent that if you turn the TV on during it you might catch a new episode of Cheers!

      3/5
      • Reputation Points

      • 10 replies
    • I
      • Reputation Points

      • 2 replies
    • https://www.metalforum.com/blogs/entry/52-vltimas-something-wicked-marches-in/
      • Reputation Points

      • 3 replies

    • https://www.metalforum.com/blogs/entry/48-candlemass-the-door-to-doom/
      • Reputation Points

      • 2 replies
    • Full length number 19 from overkill certainly makes a splash in the energy stakes, I mean there's some modern thrash bands that are a good two decades younger than Overkill who can only hope to achieve the levels of spunk that New Jersey's finest produce here.  That in itself is an achievement, for a band of Overkill's stature and reputation to be able to still sound relevant four decades into their career is no mean feat.  Even in the albums weaker moments it never gets redundant and the energy levels remain high.  There's a real sense of a band in a state of some renewed vigour, helped in no small part by the addition of Jason Bittner on drums.  The former Flotsam & Jetsam skinsman is nothing short of superb throughout "The Wings of War" and seems to have squeezed a little extra out of the rest of his peers.

      The album kicks of with a great build to opening track "Last Man Standing" and for the first 4 tracks of the album the Overkill crew stomp, bash and groove their way to a solid level of consistency.  The lead work is of particular note and Blitz sounds as sneery and scathing as ever.  The album is well produced and mixed too with all parts of the thrash machine audible as the five piece hammer away at your skull with the usual blend of chugging riffs and infectious anthems.  


      There are weak moments as mentioned but they are more a victim of how good the strong tracks are.  In it's own right "Distortion" is a solid enough - if not slightly varied a journey from the last offering - but it just doesn't stand up well against a "Bat Shit Crazy" or a "Head of a Pin".  As the album draws to a close you get the increasing impression that the last few tracks are rescued really by some great solos and stomping skin work which is a shame because trimming of a couple of tracks may have made this less obvious. 

      4/5
      • Reputation Points

      • 4 replies
×
×
  • Create New...