Protector - Reanimated Homunculus (2013) [Gorgatz]

Protector - Reanimated Homunculus (2013) [Gorgatz]



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Protector once had the potential to be up there with the gods of European thrash / speed metal. This bunch of fiery Germans hit the metal scene in 1987 with their EP Misanthropy and received critical acclaim for thrash fests such as 1988’s full-length debut Golem and the sophomore effort Urm The Mad in 1989, but despite causing a buzz on a cult scale they never reached the heights of Kreator, Destruction, Sodom et al.

As expected, what with the early 90s alternative metal and grunge invasion, Protector struggled but somehow they refused to die. However, despite numerous appearances on compilations and releasing a string of demos, the band hasn’t recorded new studio album since 1993’s The Heritage… until now.

Reanimated Homunculus is Protector’s fifth outing, and features the vocal sneers of original frontman Martin Missy, the blitzkrieg guitar attack of Michael Carlsson, the insidious bass of Mathias Johansson, and the vicious drum assault of Carl-Gustav Karlsson.

The big question on everyone’s lips however is, could Missy bring back to life this thrash giant with the aid of three new members. Well, the band had always suffered line-up changes from the early days, but even I didn’t expect such a furious record.

It is true to say that 80s thrash has never died out, and it has certainly come full circle with bands such as Kreator, Destruction, Sodom and numerous American bands keeping the flame burning, and thankfully it is these bands – and not the screaming horde of young upstarts – that have enabled thrash to live long in the blood of us metalheads.

Reanimated Homunculus, unlike the last batch of Kreator releases, has literally carried on from the 80s, boasting a dry sound that seethes throughout, mainly due to those rasping Missy vocals, and also a guitar sound that is nigh on perfect for a revisit to the halcyon days of thrash, and I simply can’t get enough of this evil sounding ten-tracker.

For a start, there’s the tight drumming of Karlsson – which I’m sure original drummer Michael Hasse (who died in 1992) would be really proud of – and then there’s that precise bass dribble; the result being a journey into the depths of pure thrash heaven. I was impressed by the latest Sodom (Epitome Of Torture) and Destruction (Spiritual Genocide) records, but Reanimated Homunculus is a true example of recapturing that 80s flavour.

Album opener ‘Sons Of Kain’ is a full-throttle eyeball popper that destroys anything Kreator has done since 1989’s Extreme Aggression opus. Meanwhile, ‘Deranged Nymphomania’ swaggers in with a killer riff and punchy drum before once again picking up the pace.

Hell, this is no frills thrash metal from the steeliest of hearts. Whether it’s the fierce drum roll lunacy of ‘Holiday In Hell’ or the nihilistic attitude of ‘Road Rage’, one can’t help but froth all over this rabid record. But it’s the mid-tempo chug track that symbolises Protector, touching upon deathly shades with those lethal vocals.

Protector has never let us down throughout their career, despite the lack of ignorance from promoters and the press, but once again they’ve quite literally unleashed a formidable opus. I just hope that this time round their grey haze of parched thrash gets the deserved attention.

If anyone ever asks you what 80s thrash was and is still all about, forget the San Francisco Bay Area, and just point them in the direction of Reanimated Homunculus. Without doubt this is the best thrash record of 2013, and the perfect peep-hole back to a time when European thrash, despite not achieving the success of the American bands, was still the ultimate force in fast-paced metal.

PROTECTOR’s comeback full album seems nothing less than their previous releases if not even more accomplished, in an equation of faithfulness to the old school Thrash on one hand and on the other one, the musical maturity acquired throughout a veteran career dating from the late 80s –the Thrash Metal’s golden era.

As a fusion of fancy Thrash and Death elements, it was actually a winning gamble on quality rather than quantity. The ten tracks are designed to be as concise as possible to a point that leaves no way to boredom at any second, owing to a well-edited riff distribution. Most of the time, although the riff’s general scheme is kept playing for a good duration the and the played notes are conserved, every four bars occurs a swift and constant switch in technique and/or intensity, either concerning drumming or the guitar play (sometimes interludes breaking away from the basic song structure) mentioning for example “Lycopolis” in which you detect the alternation of heavy drumming and guitar palm mutes with lower tempo passages with more open chords, sometimes such chords turn into extensive staccato play such in “Deranged Nymphomania”. Headbanging had also its good share translated into old school Thrashy one pillar note riffs with an decent bass line that actually went further than its traditional task of following the guitar fundamental notes, and was often playing the intro or individualized enough in “Birth Of A Nation”‘s interlude taken as another clue.

As for guitars, even though the scales remain in a safe zone, their technique varies between Death Metal open chords, glam-like ones and one pillar note fast Thrash riffs playing, and at a lower frequency electro lead guitar arpeggios as well as the harmonics of “Antiman”, and added to the whole variety, the cutting-edge chromatic undefined tremolo bar and tap solos come as a triumph in most of the songs echoing the same characteristic high level of the previous band’s line up.

No doubt that the drumming is indeed a winning card in this album, commanding the outstanding tempo roller-coaster and often the unexpected smooth transition from high tempo to a low one and vice-versa as in “Antiman”, beside the funky cuts in “The End” where a weird Rock drumming gets transformed into a rhythm of double bass pedals, needless to mention the glam drums right in the intro of the song, the drum intro and the tremendous bass pedals and scale rapid switch melted with time signature change in the interlude “Holiday In Hell” all which –for certain- have hugely contributed to this unique mixture.

In spite of the notable aggressiveness of the instrumentation, nothing could affirm that melancholic timber like the growls did especially when echoed. Browsing along the tracks, the lead singer’s ability to deepen or to raise his range is likely to draw your attention from the drums. In that mingle of Thrash chords and drumbeats, Death-styled singing expands dimensions and doubles the vibes radiating, notably in the last track which comes as a short energetic Metal hymn backed by clean chorus then marked by the end by the alternation of differently-pitched vocal tracks.

TRACKLIST:

1. Sons Of Kain
2. Deranged Nymphomania
3. Holiday In Hell
4. Reanimated Homunculus
5. Birth Of A Nation
6. Lycopolis
7. Road Rage
8. Antiman
9. The End
10. Calle Brutal

Bitrate: 320 k
Genre: Thrash
Subgenre: Thrash / Death Metal
Size: 87.05 MB

Credit Goes To LaVey Of Rockbox