Review: TORSO ‘Annihilation Day’
Over a menacing, droning pulse, a sample intones, January 1st 1984. A frenzied swathe of murders has struck the small town of Jacob Hills. The student body is dropping like flies, but two girls have taken matters into their own hands… against the wishes of the authorities. More news as it unfurls…‘
As the introductory narrative sets the table for the gore splattered feast, it’s time to bust out your clichés, stick your tongue firmly in your cheek and fire up your chainsaw – TORSO are back baby!
Billed as four tracks, with each of those nominally divided into three parts, this is former Possessor main man Graham Bywater’s, ahem, stab at a concept album as the guitarist and frontman continues his love of horror and fuzz-drenched grind with the latest TORSO album Annihilation Day. A nuclear, day-glow mutated joyride through a blend of industrial-edged, overdriven garage rock that leans into thrash, death and black metal. The third album under the TORSO banner may be the most gleefully rampant assault on the ears yet.
The Halls Run Red (Rita’s Death/The Thrill Of The Kill/Dorm Of The Dead) sets the scene with the aforementioned sample over ominous churning sounds that literally jams the clichés of darkened campuses and secluded alleyways full of dread, calling back straight to VHS (look them up kids) ‘80s Technicolor splatter.
When Bywater (who handles all the instrumentation in addition to the vocals) explodes into life, it is with the delicious Ramones surf-punk style horror that we have come to expect from the deranged mind behind Possessor. Buzzsaw riffs and effect-laden vocals collide over the driving beat as he rasps with his commanding delivery.
Over the exuberant maelstrom, the chorus introduces those gruff harmonies and melodic runs that show the nous behind the gleeful hack and slash approach, before doubling down on the abrasive edge. The chapters of each track blend into one but still manage to walk through the phases and create a separate feel within the extended run time. TORSO create galloping grooves and dense atmospherics in the middle section before finishing with bubbling electronics and intense drumming before the instrumental fades out.
The tolling bell and deep resonating pounding of the toms introduce Satanic Nirvana (Tolls Of Death/Christine’s Theme/The Sound Of Blood) ahead of the incoming grinding riffing. The low distorted, rhythmic vocals once again capture that poppy surf punk attitude and ability to switch on a dime from grimy malignancy to catchy earworm.
The grimy Sub-Pop grunge style production, recalling Nirvana’s Bleach, gives the track a punchy snarl in the chugging verses. It is littered with breakout moments, like the eerie solo halfway through that shows off the understated musicianship, or the low-fuzz breakdown that helps you catch your breath before TORSOcharge off again.
A nuclear, day-glow mutated joyride through a blend of industrial-edged, overdriven garage rock that leans into thrash, death and black metal…
For all the attitude that infuses the music and the dedication to the visceral aesthetic, there are lashings of humour. After the multi-layered proclamations of violence and the squealing feedback, the track ends with Technicolor Refreshment Trailer No.1 (Filmark Studio’s classic Let’s All Go To The Lobby intermission advertisement). It’s a reminder that this is best viewed through that big-screen lens.
Blast Furnace (Killer’s Theme/Vengeance In Their Eyes/Too Many Humans) starts with classic ’80s sci-fi feeling synth and a low bobbling electronic pulse before igniting into some of the most savage, tumultuous riffing on the album. The brutal pummelling is straight out of the Carcass death ‘n’ roll playbook as the barrage and low riffing bludgeon you into submission with machine gunning precision.
After leaving the listener in a bloody mess, like one of the story’s victims, the relentless intensity gives way to a lopsided melody with woozy, off-kilter harmonies. These wrestle back and forth with the pounding, leaving you turning with glee as Bywater whips up a veritable storm. More samples update you on the stories as the music moves from brutal hammering to twin rock guitars, albeit ones caked in filth.
The final act of our story, Show Your Face (Christine Kills/Dripping Corpse/Bloodbath To Paydirt), starts with a bass-heavy rumble that is almost industrial in nature, overlayed with a scything razor like solo. The bullish track with lyrics like ‘Bloody bliss’ has a distinctly British feel and over the Godflesh like percussion there is a swing and a swagger that shows TORSO know when they have hit gold.
When the track really gets rolling, it switches from mid-paced drama to a more assertive drive. These changes in instrumentation signal shifts in mood, adding drama to the viscera. The sheer ability on display dazzles, as the delicious leads add a glorious sheen to the violence.
The final sample informs us that the townsfolk are safe, with the classic horror movie twist of ‘For now…’leaving the door open, as with all good franchises, for a sequel. TORSO then head to the close with one of the most savage barrages on Annihilation Day.
Featuring guest vocal spots from Sam Marsh (Jacobs Mouse, Machismos), Paul Waller (OHHMS) and Thomas House (Charlottefield, Sweet Williams), and recorded and mixed by Wayne Adams at Bear Bites Horse Studio, TORSO’s third album is a veritable slam dunk.
For all the progression and tenacity of sophomore album Brian Cells, I personally felt it didn’t quite recapture the magic of the A Crash Course In Terrordebut despite its best efforts. This latest album bristles with attitude and a knowing sense of fun from the moment you press play, making it an adrenaline rush of joy all the way to the end.
If Annihilation Day doesn’t make a few albums of year lists, Bywater should scream bloody murder…
Label: APF Records
Band Links: Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
