Despite stereotypically being a genre reserved for schlocky musings on pop culture, unhinged intoxication and slapstick ultra-violence, those who dabble in the genre often do so po-faced, insisting the sound is one reserved for aloof sincerity. Gama Bomb are a welcome respite from this.
In similar vein of Virginia party thrashers Municipal Waste, Ireland’s Gama Bomb have long offered a more cheerful take on the trash metal blueprint that leans fully into the intrinsic fun and absurdity of the genre as a whole. In fact, the band have long lampooned the stoicism and humourless approach to the genre that many of their co-instigators in the scene take. One only needs to look back upon their discography – featuring such gems as Speed Between The Lines, Survival Of The Fastest and Tales From The Grave In Space – to truly get an indication of this. Their approach has divided some, but their eighth full length BATS see’s the Gama Bomb boys further fall back on their unique leanings whilst honing their musical edges.
Produced, mixed and mastered by guitarist Domo Dixon and featuring artwork created by legendary horror designer Graham Humphreys (A Nightmare On Elm Street, Evil Dead, From Dusk Til Dawn), BATS, like it’s artwork implies, is viscerally good fun. Interlude ‘Prologue Under The Pyramids’ and opener ‘Egyptron’ – a song about a robotic Egyptian demigod genuinely voiced by guesting West Coast hip-hop pioneer Egyptian Lover – introduce and characterise BATS in a fashion in only Gama Bomb can. Driven forth by the band’s classic galloping riffing, the piercing highs of vocalist Philly Byrne and featuring a classic 1980’s hip-hop section courtesy of the pioneer aforementioned, BATS doesn’t waste any pretence on being a deathly serious offering for those gatekeepers donning ill-fitting bullet-belts. In fact, with the high-kicking speed metal of ‘Living Dead In Beverly Hills – a devilish love-song to classic late 20th century horror – consecutive, BATS is a record dedicated to the inherent tomfoolery of this genre as a whole.
“An act that utilise the inherent daftness of thrash for both unfettered fun and cultural good.”
However, that’s not so say this a record just a body for comical laughs. Make no mistake, BATS – thank God – is not what could be described as a comedy record. This prevalent sense of good-natured humour is a natural product of the band’s well-established wit, and should one remove this element they would left with still a great thrash record that explores more pastures than most records of this calibre. With the vocals of Byrne effortlessly radiating articulate wit and charisma and with their band mates delivering a sense of snarling punk attitude in vein of Bad Brains, this album see’s Gama Bomb with their firmly on the gear stick, frequently shifting speeds to offer a more varied sound upon this record. Should it be the Judas Priest-esque power of ‘Rusted Gold’, the Sodom haste of ‘Speed Funeral’ or the fang-bearing punk bile within ‘Mask Of Anarchy’ or the sardonic ‘Don’t Get Your Hair Cut’ that ridicules those toxic members of the metal community, every track present here has it’s own unique identity whilst still naturally being a product of this band.
Of course though, it would be unjust to explore this record without documenting the more grounded lyrical subjects within BATS. As those loyal to the band shall know, Gama Bomb are no stranger to using their lively and lacerating sound to address and condemn such subjects as racism, climate change, right-wing politics and other subjects plaguing our culture as a whole. BATS is no different, with the brilliant and thrashing ‘Secular Saw’ decrying how organised region profits of bigotry and industrialised hatred. Whilst such lyrical subjects may polarise with songs, well, about giant robots, this may be a shift too contrastive for some. Yet, the impact and wit such songs are presented with only highlights the importance of these subjects via juxtaposition and do these vital subjects the justice they crucially demand. Such is the brilliance of this record and band as a whole. With BATS, Gama Bomb once again affirm themselves as one of the most criminally under-sung bands in thrash and an act that utilise the inherent daftness of thrash for both unfettered fun and cultural good.