Havok - Conformicide: Album Review

Havok makes their grand return, but was it worth the wait?

It feels absolutely nostalgic to finally have some new Havok material. It feels like only yesterday that I got a YouTube link to the band's second album, Time Is Up, an album that I would listen to nonstop before purchasing that and Havok's two remaining records, three albums that are on my permanent rotation. Yes, Havok has a special place in my heart. If it wasn't for them, I doubt that the modern thrash scene would be as impressive as it is now. That may sound like an exaggeration, but to me, the modern thrash scene without Havok is like the 80s thrash scene without Metallica or Megadeth: I just can't fathom how it would have survived without them.

Four years after the band's previous effort Unnatural Selection, Havok returns with a new record and hopes to bring back the hype and fill the hole that has been the modern thrash scene since their absence. So let's dive right into it.

Havok's style of thrash metal usually doesn't deviate too far from the norm. Havok's brand of thrash is usually comparable to the likes of early Megadeth (see: So Far, So Good... So What!, and Rust In Peace), this means lots of complex riffs with an added emphasis on speed and aggression, occasionally throwing in a curve-ball here and there. It doesn't sound like the most revolutionary take on the genre, and to a new listener I can understand feeling kind of underwhelmed by that description, but the secret to Havok, Evile, Warbringer, and the entirety of the modern thrash scene is how well the bands capture that raw energy and aggression of the 80s scene without clinging to it. As such, Havok and as a result, Conformicide, lacks much of the melody and NWOBHM attitude that became a staple of classic thrash. The band forges their own sound thanks to the pure talent of the band themselves and a solid production.

The production on this record has to be one of my favorites on any Havok record. I typically prefer cleaner cuts, where I can hear every instrument as clearly as possible. This album does that, but the emphasis is definitely more on the guitars, which are much higher in volume and distortion. I wasn't too surprised by that but what I was surprised by was the level of emphasis on the bass. The sound is damn near indescribable (wobbly? bouncy?) but the bass sound is incredibly thick, but isn't afraid to cut through the guitars to deliver a stunning solo. Vocalist David Sanchez meanwhile feels a little out of place as his normally booming screams and yells have been pitched up (either artificially or otherwise), making his voice sound a bit more screechy and forced than normal. It doesn't ruin any of his vocal deliveries, but I couldn't escape the feeling that on some of these tracks he was straining his voice when it normally came so naturally to him.

As for the actual music being recorded, there really isn't much to discuss. I've already discussed how Havok's brand of thrash makes them enjoyable and unique, and the truth is, there really isn't much here that hasn't been heard on any of Havok's previous records. On the one hand, that's a great thing. Havok certainly haven't lost their touch. If you enjoyed Unnatural Selection or Time Is Up or Burn you will definitely love Conformicide, as the band is very good at hitting those same beats. There's the fast as fuck crowd-pleaser (Hang Em High), the slower more complex track that piles on riff after riff for 8 minutes and borrows so heavily from Metallica's Orion that it's a wonder it's not an instrumental (Ingsoc) and plenty of moments to mosh throughout, with solos being has dirty and intense as ever, and the new bass sound adding a bit of unpredictability to the songs. On the other hand, this sound makes Conformicide a very meat and potatoes thrash album.

The thing is, this whole time I thought I wanted a traditional Havok album for the last four years, but upon hearing this I think I might have been wrong. Conformicide is a well made album, but something about the package as a whole leads me wanting more. Maybe it's how the opening track, F.P.C. was relatively unique (in the thrash scene anyways) in that it's lyrical content focuses on political correctness and censorship, along with a punky song structure and downright funky bass, while the rest of the album feels secure in sticking to what Havok is best at. It also doesn't help that the majority of this album's lyrics feel more like Info Wars: The Album than Megadeth's Dystopia, what with Havok piling line after line about secret societies and big brother, along with war and corruption, etc. As much as Havok obviously feel comfortable here, I couldn't escape this feeling of "I've heard this before". It should definitely be noted that the pure production of the album and talent of the band keep the songs from being boring, but not from sounding samey.

Havok played it a little more safe on this album than I was hoping for, but I understand why. It's an album for fans. It's an album for Havok to say "Hey, we know it has been a while, this is just to reassure you that we still have some level of talent." Mission accomplished if you ask me. Conformicide is another damn fine Havok album that is fit for any thrasher's collection.

8/10