Ultra-Violence
Operation Misdirection
Candlelight Records
Out July 27th 2018
When any subgenre rides a wave of resurgence, there will be
expected jumpers on the bandwagon – or “Thrash Wagon” as dubbed by Tear It Up
in 2001. That same year Municipal Waste emerged. Obviously we know their path
to metal royalty. But for every Waste, there were a bunch of false hearted
dudes in flip brims, white high tops, and denim vests. As the skate-core bands
of early 2000s (Crucial Unit, WxHxNx?, Holier Than Thou?, etc) undoubtedly told
masses it was acceptable to acknowledge and celebrate the thrash forefathers,
others went full throttle into the metal realm; nodding to known bands and
underappreciated ones; like D.R.I., Exodus, Death Angel, Forbidden, Destruction,
and Kreator. Some of these bands achieved grand success while not being afraid
to infuse other elements of metal (Ramming Speed, Vektor and Toxic Holocaust).
But even after the retro-wave had hit shore and ebbed, new school bands like
Havok, Bonded By Blood, Fueled By Fire, Bio-Cancer, Suppressive Fire, and
Italy’s Ultra-Violence remained.
Ultra-Violence dropped their debut in 2012, only six years
ago. That EP, Wildcrash, depicted the
predictable beastly humanoid mutation over an apocalyptic deathscape. But for
their two following full lengths, Privilege
to Overcome (2013) and Deflect the
Flow (2016), the band extracted imagery from Burgess’ A Clockwork Orange; Alex and Dim and the droogs racing in the
durango95 and menacing the night. Operation Misdirection’s cover maintains the
theme with a vibrant illustration of Alex’s pried open eye and a doctor with a
needle reflects in his iris, provided by Ed Repka Artwork. Which is used as a
bold metaphor for the current global political atmosphere.
Ultra-Violence have always offered a crisp, sharp production
sound to the quartet’s take on modern thrash. The enormous change on Operation Misdirection is the
replacement of the rhythm section. Changing both the drummer and the bassist is
a stark change for a thrash (or any) band. Founders Loris Castiglia (Vocals,
Guitars) and Andrea Vacchiotti (Lead
Guitars) welcome Andrea Lorenti (Bass) and
Francesco La Rosa (Drums). The band tapped Simone Mularoni (The Modern Age
Slavery, Labyrinth, Ancient Bards, Trick Or Treat) for recording, mixing, and
mastering.
As the new dynamic looks to find itself, super tight riffs
open the album on “Cadaver Decomposition Island” with a chunky, bouncy bassline
intermittently jumping. The seven minute opener is replete with time changes,
showcasing smart songwriting. This is especially seen at the halfway point
where the song takes on a new life; slow and grandiose achieved with an
ethereal keyboard, mid-paced drums and squealing lead guitar. A piano outro
takes over a minute. The yearning to display their intention is understandable.
But it is an odd choice as the opener. Especially considering the next track is
titled “Welcome to the Freakshow” and is a straight thrash rager, no frills,
and lands at under three minutes. “Cadaver Decomposition Island” would be great
as mid-album track while “Welcome to the Freakshow” is clearly an album opener.
Some more melodic approaches surface in Operation
Misdirection. Track three, “My Fragmented Self” puts the band back in the 6
minute area. At this point Ultra-Violence’s sound is established is clear. They
are never too technical but still exhibit talent with the Vacchiotti’s ripping
leads and divebombs. La Rosa’s drums like to play and dictate time-changes to
keep it interesting. Despite that one can argue shaving a minute off of the
longer tracks, Ultra-Violence can hold your attention. The brightest aspect is Lorenti’s
bass work paying homage to the slap sound of Suicidal Tendencies. This
flourishes in distinct clean production, riffs are taut strings useless against
Vacchiotti’s quickly moving fingers but the riffs never grimy and thick (like
Testament or Sodom).
The middle of the album gets a touch weird. “The Acrobat” is
a shorter, punky/rocking upbeat track. There is certainly skilled guitar work
and (if it weren’t for tuning/production sound it sounds much like recent UK
Oi! – makes for a good drinking tune). Then we get a slap bass breakdown before
jumping to double bass drums and gang chants.
“Nomophobia” follows and is a bad ass scorcher. While it is
a six minute track, the song is packed with fury and tight manic riffing. But
the bridge reels back with a short slow part before charging again. This maybe
my favorite track. The barrage of blast beats and dive bombs at 3:45 renders an
explosive feel. The final third of the song is a bunch of haymakers, ending
with a sick breakdown. This tracks crushes and holds its weight for the
duration as an aggressive offering.
And then comes another odd choice, a cover of Dire Straits’
“Money for Nothing”. They emulate the intro perfectly, the synth and the
echoing drums into the ultra-recognizable riff. The make the riff rock. Then
speed up the verse. If done in the same tone as the original (sardonic tongue
firmly in cheeks), the punch lands squarely. If done just as some cheesy retro
‘aren’t we ironically cool?’ cover… Not so much. Admittedly, I love this song
(the original). But I was 8 when it was released and it was a rare treat for my
father and I to like the same song (Anthrax was not allowed). We will still
blast it in a car 33 years later. Playing this LP about the 5th time
through, it has certainly grown on me and is a cool choice. It shows how gritty
the Dire Straits’ classic was written. Also, I want my music to reflect life;
working class ethics. Thrash and crossover was always the working man’s metal.
Maybe it had fantastical imagery or lyrics, but it was about hanging out and
not being arena rock Gods. This lands.
A two minute transition pieces leads us to the martini shot;
“Shining Perpetuity”. This six and a half minute closer is frantic and tight.
The frenzied music pushes and pushes. An excellent track here. Castiglia’s
growls are commanding as they have been all album; never registering high notes
– just what I like. After the first verse (1:39), the song launches again into
that slow ascension they are doing now; (at 2:00) the thrash returns.
There are times when Ultra-Violence strip down and absolutely
tear through the speakers, like a flaming freight train. Operation Misdirection exhibits an experimentation and pushing of
boundaries which can be risky for bands. But the new spots of musical stretches
and melodies work for the band. They’ve done acoustic slow parts before but the
grand atmospheric melodic plateaus are different. Ultra-Violence accomplish
much as they grow to define their own sound in such a defined genre. This band
do proper thrash with fresh energy and anger. The A Clockwork Orange imagery is always sentimental tug, securing an
affection for the band. So, they don’t have to be the most technical or grow
each album. But Ultra-Violence do it anyway.
RIYL: Dust Bolt, Crisix, Septik Onslaught
OWES: Destruction, Whiplash, Exodus, Nuclear Assault, Overkill, Forbidden
OWES: Destruction, Whiplash, Exodus, Nuclear Assault, Overkill, Forbidden
