Harlott – Detritus Of The Final Age (Album Review)

What remains after the end?

The post-apocalyptic setting is a fitting one for airing one’s discontent about the state of the world; hence it’s frequent use by metal bands of just about every stripe. However, the case of Australian thrashing upstart outfit Harlott, it represents the fulfillment of a vision that has gone on for their entire career, rather than the starting place. Drawing heavily from the dark and cynical well from which forefather outfits such as Slayer, Kreator and Onslaught have drawn upon when commenting upon the socio-political state of things, theirs is an extreme brand of thrash metal that is anything but subtle, yet also one that has proven fairly innovative when compared to the bulk of revivalist outfits that have cropped up over the past two decades. Comparisons to the likes of Warbringer and Havok are not without a degree of accuracy given the impact-based and modernized sound that they’ve brought to a largely traditional thrashing sound, but they only tell part of the story.

Following a highly impressive trilogy of LPs throughout the 2010s that chronicle guitarist and front man Andrew Hudson’s bleak view of current events, told through a quasi-conceptual series of sorts that showcases society’s birth, rise and eventual fall. Per his own testimony, Hudson entered the writing process of what would become the 4^th installment of this series in 2020’s “Detritus Of The Final Age” with a blank slate, resulting in something a fair bit different than the fairly technical and moderately extreme evolutionary path that defined its predecessors. In essence, this album sees the songwriting taken on a decidedly more dissonant and asymmetrical character, blurring the lines between the band’s largely straightforward stylistic template with the quirky, bordering on progressive mechanics that came in with Annihilator’s seminal studio offerings. It’s a darker and nastier sound that fits within the story arc it is contained within, and a solid sonic translation of the visual horrors seen in a ruined aftermath.

Entering the fray on what can best be described as storybook fashion; Harlott sets the stage for a ravaged wasteland with a tortured remnant with a highly striking introduction. The opening moments of “As We Breach” break out with a disjointed cluster of guitar notes and the sounds of a ticking clock, culminating in a mid-paced, groovy warm up segment like something off of Heathen’s “Victims Of Deception.” However, when things fully kick in, the thrashing assault that commences is of a far more frenetic nature, recalling the fierce extreme bite of Kreator’s mid-80s sound and a more technically involved riffing approach reminiscent of Forbidden. Perhaps the most striking feature of the specific stylistic niche at work here is the highly dynamic character of the implicit melodic interplay in the guitar work, which eventually gives way to a more explicit display during lead guitar passages in a manner reminiscent of certain British outfits like Xentrix and Slammer, and plays brilliantly off the more static gruff sound of Hudson’s Tom Araya-like vocal presentation.

“Detritus Of The Final Age” Album Artwork

As the rest of this album unfolds, the clear emphasis is on high speed rage, but many occasions are made for twists in the auditory tale. Shorter vertebrae destroyers such as “Idol Minded” and “Slaughter” are tailor-made for suicide by mosh pit, while also showcasing a degree of technical flair in the guitar work that is well beyond a typical pizza thrash affair. Even the full on hardcore-infused crossover speeder “The Time To Kill Is Now” also features a highly involved, wah pedal-drenched mess of notes under the guise of a solo and a few screwy moments in the rhythm work that deviate heavily from the norm. On the other end of the spectrum is a melodically rich quasi-ballad turned epic crusher dubbed “Nemesis” takes its time through a brilliant acoustic intro and a series of mid-paced segments before exploding into a fever pitch, a formula that is repeated minus the acoustic guitars on the slightly more involved “Miserere Of The Dead”. That being said, the true highlight of this album is a mid-ranged cruiser in “Prime Evil”; a thrashing machine that could be seen as the logical conclusion of what Exodus started back in the 80s.

Though it may seem as if we’ve all been living through a post-apocalyptic nightmare as 2020 draws to a close, this is the sort of album that manages to make it all seem better in spite of its bleak narrative. The sheer amount of energy and zeal behind each of these ten highly developed and elaborate anthems is tantamount to a category four storm ravaging across the shoreline, leaving only rubble in its wake. It’s a definite boon for those who like their thrash with the obligatory attitude and angst, yet also a high degree of sophistication that is not quite as common within thrash circles. It’s a bold step by a band that would seem to be in a state of stylistic transition, though time will tell if this album proves to be a transitional move into progressive territory or a one-time occurrence by a fold seeking to broaden their horizons. Whichever the case may be, with four solid albums now under their belt, Harlott is helping to put Australia on the thrash metal map and putting the rest of the Anglosphere on notice.

Released by: Metal Blade
Released Date: November 13rd, 2020
Genre: Thrash Metal

 Musicians:

• Andrew Hudson / Guitars, vocals
• Tom Richards / Bass, backup vocals
• Glen Trayhern / Drums
• Leigh Bartley / Guitar

“Detritus of the Final Age” track-listing

1. As We Breach
2. Idol Minded
3. Bring on the War
4. Detritus of the Final Age
5. Prime Evil
6. Nemesis
7. Slaughter
8. Grief
9. Miserere of the Dead
10. The Time to Kill Is Now