ALBUM REVIEW: Myths – Detritus

Even in a world of seemingly unending reunions, the return of DETRITUS came as a bit of a surprise. The Bristol-based experimental thrashers had a relatively short-lived run in the latter days of the thrash metal boom. They disbanded in 1993 with just two studio albums to their name, and for a while that seemed to be the last we’d hear from them. Now, encouraged by the reception of recent reissues of their original records, they’re back with Myths, their first release in 28 years. As ever with this kind of thing, the question is will it herald a triumphant return? Or is it an unnecessary addition to a legacy best left in the past?

The album gets off to a pretty epic start with Myths Of Redemptive Violence. This opener is a short instrumental piece, centred on an acoustic guitar with gradually building strings behind it. From this, the band kick into the first song-proper, and early highlight, Bright Black. Coming all these years later, the pace feels sensibly slower than the faster thrash of their original records. Instead, DETRITUS opt for a real sense of groove and heft that befits an older, more mature band. It makes for a straight-up stompy rager, with some real bounce and solid guitar work.

Bright Black also quickly highlights vocalist Mark Broomhead as a particularly charismatic presence. His vocals are a stand-out feature throughout the record, evoking a range of some of the best voices in metal. For starters, there’s a Ronnie James Dio-esque theatricalism which injects many of the songs with a sense of grandeur. There’s also a Hetfieldian gruffness which fits well with both the band’s heavier thrash and more ballady songs. As well as those rather natural comparisons, Broomhead’s often thundering bellow is even reminiscent of MASTODON’s Troy Sanders.

After the hard-hitting, headbanging power of Bright Black, third track Tale Of Sadness feels a little oddly placed. Taking the form of a mid-paced metal ballad, it’s a fine song, even if the lyrics are a little cheesy. Broomhead gives another powerful vocal performance, and there’s a sense of menace which pokes through as the track goes on. The main problem however is that DETRITUS might have done better to keep the energy up a little longer beforehand. Call Me Human which follows picks things up again. It’s a chance for the band to display their triple guitar attack, one of them adding ominous clean melodies over the other two’s crisp riffing. They even introduce some synths in the background to show off their more experimental side.

Experimentalism is definitely something DETRITUS pride themselves on. Sadly, it doesn’t always work on Myths, perhaps least of all on sixth track Bloodstained Glass. After a medieval style vocal intro, this one features an electronic hip-hop style beat which feels rather jarring and dated. It also sees Broomhead opt for an almost rapped vocal delivery at points, which doesn’t really land either. It’s something of a low point, ending on a final minute of thrash where the band seem much more comfortable.

That said, there are definitely points where the experimentation works. For proof, look no further than seventh track Pharisee. This again features electronic percussion and synths in the background, but this time neither overwhelm the song and instead compliment the band’s driving thrash. The album ends well too. Its closing tracks, The Game and Forever Soldier, are a return to more straight-up thrash. The latter is particularly strong. At first, its the most blistering and menacing the band get, evoking the likes of pretty much any of the legendary Big Four. By the end however, it’s triumphant and uplifting, with Broomhead‘s voice booming over soaring guitars and strings. The song finishes with a lone clean guitar and delicate vocal harmonies, providing quite a beautiful full stop to the record.

It may have its faults, but Myths is not without its good moments. Given that most fans had probably long-assumed that If But For One would be DETRITUS‘ last record, they should be pretty chuffed with the highlights on this. Those new to the band will probably be less fussed, but shouldn’t completely discount this album. Ultimately, Myths is a decent addition to DETRITUS’ catalogue, its highlights hinting at a band with a new lease on life.

Rating: 6/10

Myths is out now via Embryo Industries.

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