Forged in the fires of a Bristol Heavy Metal scene dominated by Onslaught in 1989, Progressive Thrash act Detritus created a pair of well received albums in a four year run with both 1990’s “Perpetual Defiance” and 1993’s “If But For One” both creating a storm to drag any fishing trawler caught in them to the black depths. Then things went quiet… until they decided to re-issue both records and enthused by the success of that venture into unknown territory they returned to the studio once more. The result of that is “Myths” and coupled with artwork from Rodney Matthews it sees Andy Bright (Drums & Percussion), Mark Broomhead (Vocals & Bass Guitar), Michael Bryzak (Guitar) Andy Neal (Guitar) and Paul Newington-Wise (Guitar) determined not to re-live their youth but to start a fresh chapter.
If there were any nerves about returning after so long in wilderness then that’s not something that reflects in the music of “Myths” and after the somber meloncholic instrumental opening “Myth Of Redemptive Violence” which takes a leaf from early Metallica, the powerhouse of first single “Bright Black” takes hold. Classic marching staccato riffage and nostalgic 80’s Thrash production values finds Detritus joining the likes of Thrasherwolf and BruteAllies as part of the current resurgence of the genre, aided by Mark Broomhead’s vocals which have the qualities of the John Bush (Anthrax, Armored Saint) about them. That vocal is even more prominent in the emotive and mournful “Tale of Sadness” that slowly burns with lyrics about tear stains on photographs bringing back memories of lost loved ones, but there is a positivity within that, a search for a brighter day and that’s something that runs like a undercurrent throughout the album as a whole. Another one that really makes you think as a listener is “Call Me Human” which takes the approach that we’re all human, no matter where we come from and deserve to be treated equally. The guitar nuances in this one replace the need for a big solo, the overall message being more important than some flash in the pan virtuoso moment.
The piano driven “Exotica” is another beautifully crafted tale, reminiscent of Las Vegas Nevada duo Threering with a big arena filling sound, a mournful slow waltz with an air of sadness that is undeniable before the ceiling caves in with the weight of the riffs in the final third. Then things get funky and weird with “Bloodstained Glass” which has a Faith No More vibe to it with programmed drum loops and Disturbed esq guitars for an insight into modern life as humanity denies what it has done to the planet while children grow up in fatherless families that works strikingly well and stands aside from the pack. The programmed moments bleed onto “Pharisee” in a much smaller way, while taking on influences from further afield. The extended solo is well crafted and leaves us wanting a bit more of that in the record as a whole, but Detritus aren’t ones for style over substance and that is something that commands respect. “The Game” is a classic about of excess that brings about self destruction as a cautionary tale that should be taken seriously however it’s the imperious closer “Forever Soldier” that steals the show. A bruising riff attack that takes the best of acts like Death Angel and develops the ideas into an old school powerhouse of an affair, it leaves no stone unturned in homage to their heroes before fading into a glorious melody [7/10]
Myth Of Redemptive Violence
Tale of Sadness
Call Me Human
“Myths” by Detritus is out 19th February 2021 via Embryo Industries