Пока liberadio борется с техническими трудностями, мы обращаем ваше драгоценное внимание на эпитафию такому высеру музыкальной индустрии как re-thrash, то бишь, той весело начавшейся и уже скатившейся большей частью к УГ волне молодых трэш-банд, которые ничтоже сумняшесь косили под героев 80-х.
Передаём слово Invisible Oranges:
It appears safe at this point to pronounce the thrash revival officially dead. I can’t think of the last notable piece of work from that scene to remain on my iPod—either Havok’s Point of No Return or Vektor’s Outer Isolation. Both of those works dropped in 2011. That makes for one year with no signs of life, except for another release, like clockwork, from Municipal Waste. (…)
Re-thrash’s aesthetic was probably the most marketable thing about it, and having a distinct visual style goes a long way toward getting outsiders interested in a kind of metal. It gives people a hook, a reason to work past any abrasiveness in the music itself. As silly as it is, corpse-paint probably kept black metal alive in America long enough for well-to-do urbanites to co-opt it. The thrasher look is an easier sell than the black metal one: can you imagine an alternate universe where Rimfrost make viral commercials for stage makeup or black leggings? (…)
The genre wrote itself into a corner. From the start, it never represented the totality of thrash, just the select spectrum of it that mimicked DRI, Nuclear Assault, and SOD. Re-thrash bands, on the whole, approached the genre as formalists: their albums were all as short as Reign in Blood or shorter, half an hour or less with very few exceptions. Some musicians use formalism as a creative exercise, but most re-thrash bands used concise songs as an excuse to play as quickly as possible. In so doing they lost the negative space that made the re-thrash movement invigorating in the first place.
That formalism also lost the creative spark that thrash, Californian and Teutonic, flaunted so heavily in the late ’80s. At its peak, thrash was not just crossing over, it was also producing arena rock ballads and progressive epics while mutating into death and black metal. Thrash moves forward, literally and figuratively. It was foolhardy to try and trap that lightning in a bottle by going backward in time. (…)