Label: Bad Actors/Last Gang Records
I don’t who would remember those crazy Canadians rushing from Toronto, No Warning, in 2017. Or how many of you noticed that the band returned back in action in 2013. Nonetheless, even though their name declares “No Warning”, the truth is that if we were more attentive, we would notice the clues the band had left for us in the past with their 7 inch releases: ‘Resurrection of the Wolf” (2013, via Bad Actors Inc.) and ‘Friends In High Places’ (2015, flexi via Lockin’ Out Records)…Releases that tried to warn us for the future… The band exercised influence upon the entire scene with the excellent ‘Ill Blood” of 2012, then committed something like a suicide with the debut’s successor, ‘Suffer, Survive’, which was average enough and a bit soft and flabby, with popcore and Linkin Park tendencies that let down lots of people a dozen years before. The group returned with an album with grandes cojones that’s based on a potpourri of influences and elements deriving from the late ‘80s – ‘90s as far as hardcore is concerned, with references to the New York scene and mostly to Cro-Mags, while pure metal and crossover connecting dots are also found. Riffs are sharp and tilled with steel, mixing early Metallica, Earth Crisis, of course Terror, Anthrax and Power Trip. In combination with extraordinary and dense guitar solos that reek of that 1980s smell (and classic heavy metal as well) they create an utterly metal result and the recipe the band used essentially mixes the best elements of both genres with a common denominator the spectacular talent the creators have in song writing. Obviously, we have some tracks that stand out more than others and act as catchpennies, even though all of the 12 tracks are somewhat catchy and could probably evolve into hits. The album itself is solid, both structurally and continually. I personally distinguished Hell Realm, Headless, Unreality, the album title track and In The City. I don’t know if everything flew naturally or whether the album is a product of intense work, however the phonetic lines are well-written and fit perfectly with the structures (with alternations in volumes and way of approach and even the use of hard rock technics that remind us strongly of Alice in Chains, in ‘Sanctuary’). It seems that the selection of Joel Grind (Toxic Holocaust) as their producer was the best possible. This album will be definitely included in my 2017 Dirty Dozen List along with Don’t Fight the Youth EP of Fireburn and Up in Arms of Bloodclot certainly occupying the first three positions of best hardcore albums of the season.