Today, we’re diving into the album that turned 2023 into a great year for thrash metal: Terrifier’s “Trample the Weak, Devour the Dead.” Originally formed as Skull Hammer in 2003, the Canadian band switched to the name Terrifier in 2012, unaware they’d later share it with a famous horror movie released four years later.

Their allergy to monotonous songwriting, a trait that comes with being Canadian, began to show in their debut album in 2012. However, the band’s real breakthrough came in 2017 with “Weapons of Thrash Destruction,” narrowly missing out on the title of best thrash album of the year (which went to “Nightmare Logic”). “Weapons of Thrash Destruction” was a modern masterpiece, showing just how far thrash metal could go. It didn’t mimic old-school thrash, nor did it create overly complex music, and it didn’t try to blend with death metal with only a few thrash riffs. Everything was as it should be, seamlessly integrated like a well-crafted alloy.

With their new album “Trample the Weak, Devour the Dead,” we see that they’ve built upon the successes of their previous album. The technicality is not overwhelming, the riff transitions fit together like puzzle pieces, sudden blast attacks surprise you, and the guitarist’s jaw-dropping solos make it clear he spends all his free time playing guitar. The vocalist has found a perfect balance, using a mix of brutal screams and new, grittier vocals, making the songwriting reminiscent of the greats like Rush, Voivod, and Gorguts. The only downside might be the production quality—there’s a bit of muddiness in the mix that you get used to after a few tracks, but initially, it feels like there’s a foggy veil over the songs. This can make the album start off a bit slow. Another minor downside is the album cover—it’s okay, I guess, but nothing special.

Another neutral point is the song structures. Terrifier’s songs cater to a niche audience and can be exhausting for those not familiar with the genre. However, for those who appreciate the intensity of metal and aren’t just trying to impress goth girls or long-haired metal dudes, this won’t be an issue. This doesn’t mean we can ignore the lack of diversity in song structures. The rapid, technical riffs, breakdowns that feel like slightly slower versions of the same riffs, and even faster blast beats can make it hard to distinguish one song from another after a while. This album is best listened to with full attention rather than as background music while doing something else.

“Trample the Weak, Devour the Dead” demonstrates that thrash metal can evolve just like black and death metal have, without trying to mimic Metallica or Slayer. It shows that quality music can be made without aiming for a massive audience or trying to revolutionize thrash metal. Hopefully, the band’s aversion to PR will fade, and we’ll see this album gain the recognition it deserves.