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██▌ Artist...: Bitterness ░▐██▌
░▐██ Album....: Dead World Order ░██▌░
▓▐██ Year.....: 2020 ▓▐██▓
▓▐██ Rel.Date.: 2021-01-24 ░▐██▓
▐██ Genre....: Thrash Metal ██▌░
░ ██▌ Label....: G.U.C. ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. The Last Sunrise 0:44
2. A Bullet a Day 3:58
3. Dead World Order 6:06
4. Idiocracy 6:03
5. Let God Sort 'em Out 4:28
6. Forward into the Past 3:58
7. Blood Feud 7:33
8. None More Black 4:05
9. Darkest Times 5:41
------
42:36
Since 2001, Bitterness have lurked in the background of German thrash
metal, doing little more than remaining consistent. Now up to their
seventh full-length, the familiar Teutonic influences remain on Dead
World Order, though the album features a greater mixture of sounds than
traditionally associated with the region.
A sort of melodeath propulsion colours the faster moments of
BitternessÆs attack, which has become less obvious since the groupÆs
formation. As jumping note patterns alternate with down-picked chugs the
mood changes too, leading songs like æForward Into the PastÆ from
dancing momentum towards grittier passages. More evocative melodic
techniques on æNone More BlackÆ and balladic closing instrumental
æDarkest TimesÆ push the sound closer to Insomnium or Omnium Gatherum
too, despite references to modern Kreator and Testament being the
foundation of most of the 9 tracks. At times, a social anger wells up
from frontman Frank Urschler, lending æIdiocracyÆ greater whiplashing
power and propelling the Germans to more incensed feats of shredding.
Balance all that with some moments of downbeat reflection and groovy
riffing during æBlood FeudÆ and the 43 minute release feels nice and
complete.
Through their remarkable balancing act, the trio manage to achieve more
than expected from a solid melodic thrash template, aiming neither for
any especially heavy moments nor technical additions and staying
comfortably away from extreme pace too. This moderation concurs with the
modern production by Cristoph Brandes and natural mixing job by Harris
Johns, which lay everything out honestly and simply. That may lead some
to write off Dead World Order as rather middling in quality, but adept
songwriting and a sufficient amount of memorable passages raise the
latest Bitterness album comfortably above mediocrity.
---
Now here's a band I can't believe I'd never encountered before this
year. Coming into being in the early '00s, when thrash was barely even
in its foetal stage of revival, Germany's Bitterness began life leaning
more towards melodic death metal rather than full-on thrash (though I'd
argue their works between 2002 and 2009 would definitely appeal to
Kreator fans). Their foray into more straightforward thrash metal a la
Sodom or Destruction began with 2009's Genociety though I would
recommend checking out any album of theirs if you're the into true
Teutonic style of metal. Previous effort, 2015's Resurrexodus, was a
rock-solid thrash album with occasional death metal leanings, and now,
2020's Dead World Order seems to be the next logical step in the band's
evolution. As you can see, I've had to do my research on this act
because I feel ashamed at having never come across them before! Any
comments I make about their stylistic development are just water under
the bridge because, when all's said and done, Bitterness are a great
band overall and this new LP is a damn fine addition to their
discography.
Dead World Order seems to have all but erased any melodeath influences;
the riff-set sounding like it came right out of a 2007 retro-thrash
album, and vocalist Frank Urschler employing a semi-harsh bark, rather
than a deathly growl. That's not to say it hits with any less impact. If
anything, the more riff-centric approach taken on this album is
something to be applauded. The record isn't saturated wth constantly
twiddling distracting lead guitar work, instead choosing to indulge in
the art of the chunky riff. That is why I listen to metal (thrash
especially) - riffs, riffs, and more fucking riffs. From the chromatic
speedfreaks like "Forward Into The Past" to the grinding chug-a-thons
like "Blood Feud", Dead World Order is a riff-fest and a
headbanger/fist-pumper's paradise. I am especially fond of the slower,
groovier moments. I utterly adore when a thrash band slam on the brakes
and crank out a foot-stomping mid-paced number like Anthrax's "Keep It
In The Family" or Overkill's "Horrorscope". Well, it's the title-track
that delivers the goods here with a neck-breaking 6 minutes of martial
hammering.
On the other end of the spectrum, Bitterness also succeed in thrashing
like there's no tomorrow. The speedy assault of "Idiocracy" is pumped up
with great use of scales and addictive gang-shouts, whilst the equally
battering "Let God Sort 'Em Out" contains a wonderfully infectious
refrain of 'KILL 'EM ALL!' and is laced with sardonic humour (also, the
riff after the solo is pure fucking gold, and the stop-start riff at the
very start hurts my neck). The Germans throw more of their bitterly
sarcastic attitude at the opener "A Bullet A Day". I can almost hear
them grinning with menace throughout the whole record, and it really
fits the theme of the album created by the great artwork. If only Ed
Repka could have contributed. The real intrigue on Dead World Order lies
towards the end of the album. The 7.5-minute "Blood Feud" displays their
penchant for expansive songwriting accompanied by some simple, but
incredibly effective, palm-muted riffing. Then "None More Black"
suddenly reverts back to the Germans' early work with blast-beats, mild
black metal sensibilities and a hell of a performance from Urschler
behind the mic.
If you were disappointed by fellow countrymen Protector and their
mediocre effort last year, then pick up a copy of this as soon as
possible. It flows wonderfully as one cohesive, concise package; never
out-staying its welcome due to its refreshingly brief duration. It's
nice to have an album of this sub-genre which you can dip in and out of,
but also listen front-to-back and have a fluid experience. The
instrumental intro opens proceedings accordingly, then the similarly
instrumental outro "Darkest Times" bookends the whole affair in totally
suitable fashion. Dead World Order isn't going to break any boundaries
upon release, or even convince thrash metal naysayers, but it's another
worthy addition to what has already been a hell of a year for the
sub-genre. An all-round solid, riff-heavy and great thrash metal album
done the way only Germany knows how.
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