Ultra-Violence have been around for the majority of the past decade, with a pretty solid history behind them. Last year, the band dropped their third album titled Operation Misdirection and saying that it’s firmly cemented in a more technical end of thrash would be an understatement. Rest assured, it isn’t annoyingly complex or proggy but pushes some limits that our typical thrashers of the sort aren’t usually going for.
This may sound like a bad thing, but they somehow manage to finish this with epic coats that oh-so-slightly hold metalcore or melodeath colors. Primarily, it’s thanks to the production, but you will come across the occasional break-down type chug. Longer songs like “My Fragmented Self” or the musically superior “Cadaver Decomposition Island” will reveal these tactics more bluntly. The acoustics at the end of the latter were a pretty nice touch, and best of all none of these toppings take away from the abrasive attitude that the band initially establishes. The bass also stands out tremendously, snapping the rhythms hard into place.
Not all of it is like this though; there are certainly some songs that strip everything down to the core and focus on a fast and punchier delivery. I wouldn’t call any of it crossover, but you’re sure to find some gang chants and party-vibes, particularly in “The Acrobat.” The vocals here actually remind me of Children Of Bodom, and there’s plenty of melody to go with it. If you haven’t gathered this by now, it’s not the most consistent release. Even a semi-awkward cover of Dire Straits’s “Money For Nothing” makes an appearance, throwing everything for an even bigger loop.
Despite all of the weirdness, I can’t complain too much thanks to the fact that the tunes themselves are pretty good and Operation Misdirection is loaded with chops. Expect this to be anything but direct or straightforward, and any thrasher should get plenty out of this. Seldom does something this cleanly produced and all over the place sit with me so well.
Operation Misdirection came out on July 28th, 2018 through Candlelight Records