Angelus Apatrida: Cabaret de la Guillotine

by DrMR on March 22, 2019
REVIEWS
Overview
Info

Date of first release: 04/05/2018 (dd/mm/yyyy)

Record Label: Century Media Records

Producion – mix/mastering: Daniel Cardoso

In early May 2018, the veteran – yet underestimated – thrashers Angelus Apatrida, in cooperation with Century Media Records, offered the metal community an album that can hardly go unnoticed, especially by the fans of “American” thrash metal scene.

Almost 20 years since the formation of the band (2000), we come across the album “Cabaret de la Guillotine”, which is the essential product of hard work combined with loads of experience. This album comes as a bolt from the blue, debunking the idea that the era of Thrash metal comes closer to its end, while providing plenty of eargasms to  everyone, including old school thrashers.

The album starts with the song “Sharpen the Guillotine”, a short ballad for a smooth beginning, but soon enough we find ourselves faced with rigorous riffs and vocals that can stimulate even the most experienced listeners. It continues with a fast and imposing pre-chorus which cuts a swathe, riveting all listeners. It eventually manages to make us focus so much to the – little more melodic (clean vocals) – chorus, that we might find ourselves disconnected from the rest of the environment.

After getting warmed up by the first song, we proceed with the song “Betrayed”, which is a decent addition to the album, that manages to keep listeners entertained. Moving forward, we have the songs: “Ministry of God”, “The Hum”, “Downfall of a Nation”, “One of Us”, “The Die Is Cast” and “Witching Hour”.This is where the magic happens. Listeners get bombarded with fast and “compact” riffs, sometimes more and sometimes less melodic than the first two songs, but always jamming at full throttle, making you want to start a mosh pit, even though they are not on stage.

Coming closer to the end, we have the song “Farewell”, which is a perfectly placed ballad, bridging the main part and the epilogue beautifully.

Lastly, we have the song “Martyrs of Chicago”, which may not be as important as farewell, but it still is good enough to be included in the album. The title gives away the source of inspiration, which is the Haymarket affair’s events, where an initially peaceful protest, turned out to a bloody clash between police forces and protesters, leaving many people from each side either severely wounded or dead.

To sum up, this album is a very important creation. It has a very carefully organised structure and quite interesting lyrics. The musical style is very close to Big 4, giving the listener a very admirable experience.

 

 

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