Review HARLOTT “Exsequiis”

When I think of Australian thrash metal, bands like Mortal Sin inevitably come to mind. They were at the forefront of the Down Under thrash scene in the late ’80s, but of course, time doesn’t stand still. Melbourne’s Harlott are among the bands currently carrying the thrash metal flag, and they’ve been doing so since 2006. Twenty years and four albums into their career, the guys now return with Exsequiis. Six years after the release of Detritus of the Final Age, the Australians prove they haven’t forgotten a thing.

Exsequiis – surely one of the year’s more complicated album titles in latin – contains eleven new tracks and finds the band sounding energized and powerful. While “Incipiam” creates a relatively subdued atmosphere as the intro, “Void” comes charging in with all guns blazing. Uncompromising thrash metal pours from the speakers. Driven by a strong groove, the opener is a real treat for headbangers and makes one thing clear: this is not an album interested in taking the soft route.

“Trial by Fire” is a pounding headbanger that cleverly shifts between mid-tempo passages and faster bursts. Slower tones open “The God That Knows No Name,” one of the album’s longest tracks at just under six minutes. It’s a pulsating piece that brings bands like Kreator and Testament to mind without ever feeling like a simple copy-and-paste job.

Then comes the brutal “Kleptogenesis.” This song shows no mercy, hitting the listener with considerable force. It’s this kind of variety that makes Exsequiis such an engaging listen. Harlott never stray far from their musical foundation, but they’ve managed to add an extra layer of entertainment value to the formula.

Sure, there are moments when the influences become pretty obvious. On “The Joyful Stain,” for example, Exodus comes knocking rather loudly. Still, Harlott maintain their own identity and, more importantly, know how to write a good song. “Ending” is a fine example of what makes their thrash metal work. There’s uncompromising heaviness running through the track, while melodic passages create a solid sense of tension and release. And, naturally, there are a few mosh parts thrown into the mix – because what would a proper thrash record be without them?

With “Exsequiis,” we reach the album’s final chapter. The title track serves as the closer and begins with acoustic guitars. It’s a gentle opening, but there’s already an unmistakable sense of unease lurking underneath. Slowly, the song builds into a pulsating riff monster that should give thrash fans plenty to sink their teeth into.

With Exsequiis, Harlott have delivered a thoroughly solid thrash metal album. It’s not as if this particular brand of music hasn’t been played more than a few times before, but Harlott know how to take familiar influences and old-school inspiration and turn them into an entertaining package.

These songs should work particularly well onstage. They already pack plenty of energy and power on record, and once the amps are cranked and a crowd gets involved, there’s little doubt that Harlott’s thrash metal is going to get some heads moving.