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Label: Support Underground

Date: November 4th, 2020

Well, this just might be a first! I have to check, but I’m pretty sure I have never heard an album so straight forward as this one coming from Czech Republic. Bands out of there have a habit of fusing the existing genres and stretching their borderlines as far as they will go. Nothing pure and traditional to be found, however exceptional it often turns out in the end.

And then we get to a band with impossible to pronounce moniker. Again I start to pound my head against the wall at another difficult task of describing the indescribable. However, following a short introduction, the mission proves to be much easier. And the music quite a messy killer!

Now, why would I call it messy? Exorcizphobia performs US styled thrash metal with bits and pieces of crossover. I find myself imagining a mixture of Anthrax and Exodus. Anthrax’s take on hardcore in thrash metal and Exodus’ ferocity. Well, apart of the nine minute long instrumental track “Oumuamua” that reminisces similar attempts by Metallica, but only with its arrangement since the musical side fits the rest of the record perfectly. The “messy” part is the obvious German thrash influence that makes the record sound somewhat filthier than their counterparts’ across the ocean. Not to mention the physique of the two out of four members of the band. One of them is a spitting image of retouched 21st century Mille Petrozza, while the other looks like an illegitimate lovechild of Mike and Schmier of Destruction. But that’s beside the point.

All of the above might seem as if Exorcizphobia is yet another pointless bunch on the revivalist bandwagon. But do not get fooled. The sheer fierceness and energy of “Digitotality” annihilates most bands spawned by millennial wannabes. Furthermore, we are not dealing with a newcomer here. This band is over fifteen years old and this is their third full length record. So, there is more than enough experience within to create a moving record. Both when it comes to rhythms and instrumental playfulness. Also, tracks on the album are skilfully arranged, driving you through the sonic fields of devastation. Just listen to the title track below and all will be clear.

Even on the lyrical side, although the words are pointed at expected social, religious and political topics, the quartet manages to somewhat escape the clichés. I’m even willing to forgive an occasional accent mistake, as all of this together makes for an impressive effort.

Headbangers rejoice! Thrash metal is alive and, judging by Exorcizphobia’s new record, quite healthy. Even if you do not find “Digitotality” a ground-breaking album, you will certainly admit that if we had more thrash recordings like this one we would not have to rely so much on the originators of the genre to keep waving the flag.

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