|Review: Angelus Apatrida - Cabaret de la Guillotine|
|Cabaret de la Guillotine|
Label: Century Media
Year released: 2018
Genre: Thrash Metal
Review online: May 9, 2018
Reviewed by: Bruno Medeiros
for:Cabaret de la Guillotine
The sixth full-length album by the Albacete natives, Cabaret de la Guillotine, is yet another good entry in their discography, but will yet bring out feelings of being derivative as it is with a good portion of today's Thrash metal, anyway. "Sharpen the Guillotine" is a killer start to the record, as it pumps the blood and has both aggressiveness and melody in the same proportion. The virtuous beginning paves the way to a powerhouse first verse, which then turns into one of Angelus' best songs yet with an awesome and catchy chorus; definitely the best track here.
The heterogeneous nature of the album is something that caught my eye, and I understand the need to do so, even if Thrash Metal is best served favoring consistency over experimentation. Heavier and faster bits like on "Downfall of the Nation", the classic 'rebel Thrash anthem' in "One of Us" and the chaotic closer "Martyrs of Chicago" are more than welcome and will please purist thrashers, while the melodic approach seen on "The Die is Cast" – which has some 'Megadeth-esque' moments, especially in the chorus – and "Farewell" can appeal to the more modern listener.
Amidst the 52-minute chaos are some fillers, like the aforementioned "Downfall of the Nation", "The Die is Cast" and the mediocre semi-ballad "Farewell". This made me wonder why do a 50+ minute Thrash Metal album, giving that the sense of urgency and the non-stop atmosphere of the genre show that the most digestible experiences go against that. This was something I was expecting, though, because Angelus' past works range from 40 to 50+ minutes of length, but when you have at least three filler tracks, it almost becomes too much to bear.
All in all, Cabaret de la Guillotine is yet another good album by the experienced Spanish quartet, with some inconsistencies along the way. Much like its predecessors Hidden Evolution (2015) and The Call (2012), the record uses and abuses of elements from the band's heroes – especially the Bay Area ones – but this doesn't mean that they fail to achieve a sound of their own. This will not make you see the genre in a different way nor will reinvent it, but it's decent enough to be worthy of a listen.
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|Review: Hidden Evolution (reviewed by Luxi Lahtinen)|
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