Metal maniacs, rejoice! I am proud to present to you: HARLOTT; signed via Metal Blade Records, hailing from Australian grounds - performing Thrash Metal, on their 4th Full-Length Album entitled: "Detritus Of The Final Age" (released November 13th, 2020).

Since formation in 2006; the quartet in question have 2 EPs entitled: "Virus" (released February 19th, 2011), and "None" (released August 11th, 2012). And 4 Full-Length Albums entitled: "Origin" (released November 9th, 2013); "Proliferation" (released April 24th, 2015), "Extinction" (released April 7th, 2017) & this debut album in their discography so far entitled: "Detritus Of The Final Age". 10 tracks ranging at around 51:22; HARLOTT arranges an intricately designed formula of some heavy-hitting Thrash Metal developments.

Opening up with tick tock chiming; "As We Breach" begins the record with a groovy calamity on triggering rivets, rhythmic thunder & a blistering barrage frenzy on thrashy mayhem. Crunchy chaos chugs, gallops and frolics with tempestuous firepower expertise...bombastic haste amalgamating bulldozing havoc with trailblazing yet killer laceration finesse. Arming a brimming fabrication on sonically seamless adrenaline, amplified hooks and boisterously bouncy grit. Grindy distortion revels with punchy jumpiness; solidifying this electrifying embodiment on monstrously meaty savagery, while shouting with extreme aggression and profusely robust synergies that skyrocket with chunky foundations in borderline shredding technicalities that rattle skulls with wildly rushing persistence. While "Idol Minded" perseveres with relentlessly chiselling drills, forging a frenetic but berserking hybrid on rawly rough viscerality.

Consisting of Tom Richards on bass/vocals (and backing); the frontman excels at a gnarly attribute on vehemently yelling throatiness, the authority bellows loudly and is intensely maximized with raspy manifestation. The catchy "Bring On The War" harnesses an incredible resemblance to German Big 4 Thrash Metal titans - KREATOR. Tom's cords heavily remind me of Mille Petrozza in many ways, while the merging stampede of the volatile yet rapidly swift nimbleness organically showcases meticulous substance & rumbling reverberation that your soul will be immensely grateful for. The titular track distils an infectious aesthetic on slaying yet primitively momentous malevolence; twinning guitar attackers Leigh Bartley (on lead), and Andrew Hudson (on rhythm) both fret a hostile experimentation in ambitiously addictive noise terror that venomously yet systematically supplies sulphurous stabilities on weighty tightness that will leave you wanting more until you drop dead – a firing all cylinders oscillation on scintillating soars & crescendo beats.

"Prime Evil" creates dexterously dynamic virtuosity on quintessential pandemonium, ruthless velocity & vibrantly snappy panache. While pummelling bass audibility from Tom who clobbers his axe with rampantly choppy implementation, elementing thumpy versatility and gnarly strikes that pursuit with a fluidly polished sound production that's just an all round onslaught on chaotic havoc. Battering drummer Glen Trayhern hammers his set with steely & stompy precision...exercising a healthy dose of pounding strength while salubriously smacking with vicious impact. "Nemesis" is a lengthy bruiser; starting off with this acoustic hymn, until more motivating skill results with razor-sharp thuds & rambunctious piledriving melodies snarls with tenacious tempos that will make you want to break chairs over other chairs in no time - a collective combustion of fist-pumping molten metal.

"Slaughter" is in the title; this volley of ridiculous speed, upped an extra notch with this mad maelstrom unearthing otherworldly but high-octane quakes revolutionarily revolves around a ripping overdose that never waivers for a second until almost closing as quickly as to where it began."Grief" is almost the opposite, however. A boundary consistently conjuring up some plodding yet ominously jarring riffs; portraying this intoxicating darkness vibed with swathed vocal work that orchestrates blackening disparity, and insane hooks that will possess you to rock with headbanging density. The penultimate track: "Miserere Of The Dead" then takes this solemn twist; resonating with desolate but eerie atmospheres, bleeding out this slabbing sense of enlightening environments on alluring but euphonically mellow tightness. This acoustic excerpt in which seeps towards the midway point gives a hypnotising but haunting feeling, until more bludgeoning furocity neatly tears up the gear in calamity sturdiness within this twisting & turning variety of hardened but fast paced songwriting musicianship with full force efficaciousness.

Overall concluding "Detritus Of The Final Age" with the finale epic and crushing cover from Death Metal behemoths: CANNIBAL CORSPE entitled: "The Time To Kill Is Now" which HARLOTT have constructed into deadly fusion of mesmerising yet monolithic Death/Thrash Metal mastery. A fitting finish for an already brutal assault!

Bottom line; I am compelled to say that HARLOTT are a phenomenal group that were under my radar for some time now, with "Detritus Of The Final Age" I craved a helluva lot more so I ventured into their back catalogue and enjoyed a discovery that's just full of unrelenting Metal Thrashing Mad performances that to me are credited as one of Australia's finest by yours truly. An astonishing deliverance for sure; taking the sub-genre to a whole other level with smashing variety, and certainly full of distinguished diversity for sure. Replayability value is here tenfold,   and is definitely worth spinning a handful of times - marvellously outdoing themselves with this one, make sure you check it out - with the year being all doom and gloom, you need some energetic Thrash Metal mastery to get you through these days. An album of the year contender - buy it, and enjoy some splendid Thrash Metal masterclass work! Worthy of a 10. And a new fan has been won! An exceedingly Excellent job.