Polish melodic thrash metal, with death metal influences. Sounds like we all should know what this sounds like. Formed in 2008, it took until November last year before Killsorrow finally got their debut album out. It has been met with generally glowing reviews, and it’s not very difficult to understand why.
First off, let us say that Killsorrow really takes the “melodic” part of “melodic death/thrash” seriously. In fact, it may be the most salient element in the totality of the music, which is certainly ripe with many different influences and genres. The first track “Heading Home” is virtually a heavy metal song, with the mix of Metallica-like semi-clean vocals and growls not really taking away from that impression. Later on, we get plenty of thrashier riffs, and quite a few parts of death metal (and even a brief spot or five that might be described as, shudder, “core”). Still, Little something for you to choke is heavy on the heavy.
We’ve mentioned Metallica, but mainly to ineptly try to describe some of the vocals. The music as such is far more similar to aggressive but melodic Finnish acts like Sentenced, or the more melodic tracks of Dan Swanö’s nowadays woefully overlooked death metal band Edge of Sanity. The playfulness of the latter makes that particular comparison especially on point, perhaps more than the occasional musical similarity. Killsorrow are not afraid to incorporate wildly different types of metal, and the overall modern feel and production does nothing to hide deep foot prints of both NWOBHM and 90’s Scandinavian melodic death metal.
In all honesty, this is not the type of metal I’d listen to normally. It is a bit too accessible, and while most of the influences I’ve listed above are never far from my playlist, there are also other elements which do not really interest me (like, shudder, “core”). What’s great about Little something for you to choke, and saves it in my opinion, is its insane degree of catchiness. The digital promo doesn’t include the lyrics, which is a shame, because this is clearly some sing-along stuff. Along with awesome riffing, this album has a similar effect as some (terrible) pop music: melodies get stuck in your head real quick. Roughly half of the album consists of passages that normal bands manage perhaps once per album, and great bands once per song. Good song writing and spectacular riff writing pays. If you don’t believe me, or if you do, you need to pick up this album.