ALBUM REVIEW: As The World Dies – Trauma
In recent years, there has been a noticeable comeback in the popularity of old-school heavy metal. For a long while, bands like IRON MAIDEN, JUDAS PRIEST and their peers were seen as tired, old hat and totally un-self-aware. Yet, for a reason which is is largely unclear, the worm has turned and these bands now possess fan bases more populous than in their heyday. This change has also seen the return of old bands who never achieved success in their time. ANVIL, following the release of an endlessly endearing documentary, went from a largely unknown proposition struggling to play bars to appearing at festivals globally. HELL, with the help of one-time superfan and full-time guitarist Andy Sneap, returned 30 years after their initial inception boasting their debut album Human Remains, which would rightly go on to be hailed as an exceptional example of traditional heavy metal in the modern age. There have been a number of similar cases, and one such case is San Francisco’s TRAUMA.
Perhaps most famous for Cliff Burton’s short tenure in the group, TRAUMA has been nothing more than a footnote in the annals of rock history. Due to the unquantifiable popularity of METALLICA, it is their name which carries more weight when discussing the late, great Burton. Formed in 1981, they pedalled a vibrant and uniform brand of heavy metal which took immense influence from the NWOBHM while maintaining an unmistakeably American sheen. During in their brisk 4 year career, the band released their first and last album, the unapologetic Scratch & Scream. Sounding like the hotwired lovechild of MOTÖRHEAD, MERCYFUL FATE and IRON MAIDEN, they garnered a devoted cult fanbase, many of whom continue to herald the band as the unsung heroes of the Bay Area. The band would largely fall into obscurity until their studio return in 2015, which saw the release of Rapture & Wrath. Fittingly titled, it was a natural follow-up to their debut – it just so happened to be released over 30 years later. A (marginally) more tame and streamlined proposition, it showed the band age slightly, but not tire. It was a fine comeback and one that surely pleased any doubting fan.
Often these bands fall back into obscurity, and never release another album; with TRAUMA, however, this is not the case. The band’s third album, the morbidly labelled As The World Dies shows the band establish themselves as a reliable commodity, set to stick around for the foreseeable. While only two of the original members remain – vocalist Donny Hillier and drummer Kris Gustofson – it is clear TRAUMA’s identity has remained unchanged for nearly 40 years. They continue to be shamelessly heavy metal; all the tropes and clichés are present here, and for fans of this style, it is utterly glorious. Shrieking vocals, pummelling double bass runs, rumbling bass hooks and chainsaw guitar riffs – it’s a winning recipe for success in this style, and TRAUMA are evangelical in their willingness to adhere to it without fault.
On their third effort, TRAUMA have located the sweet spot between the two preceding albums. They straddle both the snarling tenacity of their debut, while also maintaining the skills that come from experience which were so present on the sophomore effort. The production is particularly well pitched. On Rapture & Wrath, the band sounded a little rich in reverb, and often failed to be as cutting as the music demanded. Here, this wrong has been corrected, and TRAUMA sound more menacing than they’ve done at any point since their reunion. The songs sound taut and mean, just as they should.
The new hands in the band also do themselves proud. Guitarist Joe Fraulob is a former member of DANZIG, and he brings the sinister low-end riff work that he offered in that group alongside Steve Robello, famous for playing guitar in DUBLIN DEATH PATROL, a Bay Area super-group formed by members of EXODUS and TESTAMENT. Greg Christian, who handles bass duties was a founding member and integral part of TESTAMENT, and that unmistakeable rumble is present here. Each of them performs to a standard they can be proud of, capturing the conviction and tenacity present on each of their best works. The music may not be exceptionally well-written throughout, but there is never any doubt of these ‘hired hands’ dedication to the craft.
TRAUMA have also employed more tricks this time around. On both Scratch & Scream and Rapture & Wrath, the music is as meat-and-potatoes speed metal as one is likely to encounter anyway, but what is made immediately clear is that TRAUMA are willing to make small, but meaningful, changes to their sound. For example, album opener The Rage begins with a guitar lead which calls upon influences from the Middle East before the song truly begins, and it is enough to turn the head of any fan. It’s a little more ‘Jason & The Argonauts’ than it is ‘Lawrence of Arabia’, but that’s precisely what it should be; it remains true to the band’s history while also doing enough to shock fans.
A clear highlight of As The World Dies comes with Last Rites, a driving, stomping tune which veers from the well-trodden path of thrashing double-bass, instead employing a more mature and well-composed take on their sound. It contains a riff which stands as one of the best in the canon, marching triumphantly with backing from a commanding drum performance, and is sure to be a mainstay in the live set from here on.
As The World Dies isn’t solely built on strengths however. Vocally, Hillier is clearly a performer who lacks no conviction and bears no restraint whatsoever. This is both to the album’s benefit and detriment. On one hand, it is refreshing to hear a band so long in the tooth so unrelenting in their performances; Hillier never eases off the pedal, and performs without compromise throughout the duration of As The World Dies. However, sometimes one wonders if he knows his limitations. When any metal singer gets to a certain age, their vocals suffer, to a variety of extents. It happens to all of them, even the finest and most iconic: Dave Mustaine, Bruce Dickinson, Ronnie James Dio, and Ozzy Osbourne have all felt the limitations of age.
Hillier was never as talented as these peers, but he made up for it in conviction. However, on an album such as this, one can’t help but thing a more controlled and accomplished vocal performance would have gone a long way. He punctuates many of the hooks with startling shrieks. Occasionally, this is an exciting ingredient which enriches the song, but often it feels like a crutch to sound as metal as possible. His tendency to expose his inner banshee is sometimes endearing, but sometimes irritating. In the glory days of heavy metal, when front men such as Dickinson and Halford employed the wails in their arsenal, it was used in the same manner as a guitar solo – not used if not necessary, but often it could raise the song to another level. For this reason, some have become utterly iconic – Dickinson’s scream in The Number Of The Beast is a prime example. However, the near constant use of these screams takes any punch away, and TRAUMA often suffer from this.
TRAUMA have by no means done anything which will disappoint fans – in relation to their back catalogue, As The World Dies isn’t their finest hour but it is certainly their best work since their reunion. It’s a commanding, unapologetic heavy metal album, and that’s all anyone could hope for from this band. There is certainly room to improve, but in all likelihood, the gripes that many will have with this album will be of no relevance to their disciples.
Rating: 6/10
As The World Dies is out now via Pure Steel Records.
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