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Defiance |
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Review by Fernando on June 28, 2025.
Deströyer 666 is a name that's as revered as it is reviled. For the last 30 years and counting, this satanic horde has been a golden standard for Australia's extreme metal underground, as well as a steadfast touring force and with a story filled with hardship, triumph, insanity and controversy, it's not hard to see why so many people held this band in high regard. That being said, as I write this review in the year of our lord 2025, D666 or rather, its founder and main creative force K.K. Warslut has gained a bad rap as an abrasive, testosterone poisoned twat with a shitty attitude, and while that is partially besides the music itself, I'm not the first to point that their most recent albums since 2016 have been less than stellar, to say the least.
Regardless, as I embarked on a deep dive of this band's back catalog, I came with one definitive conclusion: Warslut may be the band's founder, front man and principal songwriter, but for my money, the man who made D666 a true force of blackened thrash, and the secret sauce behind their best albums is former lead guitarist Ian Shrapnel. And to prove my point we have D666's fourth LP Defiance.
Defiance is a fascinating record to talk about, a lot of people don't care for it, while others love it. Personally, I think this is a really solid record, and the main reason is because of Shrapnel. After an extended period of time during the mid-2000s, when D666 finally decided to make a follow-up to their breakthrough masterpiece Cold Steel... for an Iron Age, K.K. Warslut took a backseat to songwriting, leaving Shrapnel and then bassist Matt Razor to step up and write the music. The main thing people notice of this record's music is how it's way more complex and dark than the records that came before, leaning towards death metal in certain areas, and while the thrash metal that the band's known for is still main foundation, the very complex guitarwork and basslines take it into that different realm of extremity.
The 2 main points of contention with this record are the compressed production, which is very hit or miss, and this is something I do agree somewhat, and the lack of K.K. Warlust's songwriting. Obviously, the first 3 D666 records are so acclaimed because of both Shrapnel and Warslut collaborating, but what has made this record hold up for me, is that we have 2 records where Warslut was the sole writer, and those are records I don't particularly care for. On Defiance on the other had, while the production does rob the music of its dynamics, the songwriting and performances are strong enough that they balance out the compression, and in the more brutal or technical area,s you really feel the impact of every riff and beat.
Another strong point of Shrapnel's songwriting is the variety, the record is jam-packed with moments of searing brutality, epic melodies, and pummeling technicality, and while the music doesn't have as many hooks as the previous albums, the focus on riffs and leads make up for it. And on its best moments, the material hearkens back to the band's first record, with the long and epic arrangements and compositions which were slowly phased out and then completely absent after this album. Nevertheless, this is still a very odd album when stacked with what came before and afterwards, it feels like an inflexion point that culminated in Shrapnel's departure, and Warslut stripping the band's sound even further. Overall, even when stacking the pros and cons of this album on its own, as well as in the context of the band's whole discography, I still come back to the same conclusion, Shrapnel truly was the most important member of D666 and this album, as well as Shrapnel's post-D666 work further cement that fact.
Rating: 8 out of 10
1.57kViewsReview by Felix on December 30, 2019.
I guess it cannot be seriously questioned that the Australian underground has spit out some infamous creatures with a well-developed tendency for really vile music. Assaulter, Denouncement Pyre, Razor of Occam or, of course, Deströyer 666 have proved their ability to forge extremely intensive albums. The mixture of black, thrash and pure heavy metal shows all ingredients which are required for the creation of a special listening experience. Defiance is another album that leaves the listener with no realistic chance to escape. The holistic approach of the filthy horde leads to a monumental appearance, but it would be deceptive to think that this album's exclusive feature is absolute vehemence. This seems to be the case, but the solution of the riddle is only the density and intensity of the work. These dominant characteristics ensure that even less violent, mid-paced tunes have the might of unchained natural forces. They sound almost symphonic, but, of course, do not even think of bands like Dimmu Borgir in this context.
Deströyer 666 can rely on the capabilities of the single band members. The guitars are the driving force of the songs and their insistence ennobles even slightly less strong tracks like "Blood for Blood". Lead singer KK is also not lazy. His performance is built on authenticity and disgust, integrity and contempt. He kisses each and every word in order to leave his foul stench and the lyrics paint unholy pictures while using only the darkest colors. The effect is that the listener is confronted with apocalyptic, oppressive scenarios that fit the musical approach perfectly. KK's voice is neither extremely distorted nor overly brute, but the guy is able to impress with his beastly aura in a sustainable manner. Even totally vulgar lines like "F**k them all - each and every one" become a feast for the ears in view of his diabolic dedication.
By the way, this aesthetic poetry is taken from one of the most awe-inspiring pieces. "A Thousand Plagues" thrives on the combination of massive guitars and accentuated tempo changes. While adding alarming elements, freely flying guitar lines or solos break through the wall of sound every now and then. Of course, the malignant beast behind the microphone growls steadily and conjuring background vocals are contributed by its nasty supporters. Despite some fast rhythms, the song does not overrun the unprepared listener with sheer velocity. Its refined heaviness is the detail that marks the most outstanding feature. The heavyweight approach leaves its mark in the best possible way. "I Am Not Deceived" is also applying for the overdue exhibition "The Most Brilliant Black Thrashers Of All Times". More aggressive than the aforementioned song, Deströyer 666 celebrate their passion for destruction. I have to come back to the previously mentioned metaphor of natural forces. The song breaks loose like an unexpected hurricane - who will be able to withstand its power? The band sows the seeds of hate and the storm, that the Australians create, carries these seeds to all corners of the world. A devastating number, merciless, torrid and relentless.
It goes without saying that the album would have no effect without a suitable production. With regard to my positive statements so far, it comes a s no surprise: the output definitely offers a sound which does not lack of pressure, power and purity. To explain the last term, I am not talking of an overly transparent appearance. The mix of Defiance combines the dirty shabbiness of the sub-genre with the brutal violence of musical felons. Nevertheless, or precisely because of this, the mix embodies the pristine spirit of extreme metal. In this sense, it is hopefully allowed to speak of a pure sound. Therefore, the production is convincing, the song material exceeds the expectations (no fillers show up, although the last tune cannot fully compete with the previous detonations) and the entire work presents itself as a furious manifesto of blackened thrash metal. Fans of Denouncement Pyre's "Almighty Arcanum" will enjoy this album as well. I guess I must call my boss, because I need a hiatus; it is time to take a deep dive into the Australian underground.
Rating: 8.7 out of 10
1.57kViews