No Amnesty was formed and is still based out of an area that, depending on when you read this, either is a part of Spain or is its own independent nation of Catalonia. Thrash bands have traditionally been prone to wax political, and it might be hard to avoid it when history is happening right in your own postal code. No Amnesty hasn't really touched on political themes yet, despite the Trumpian moniker, but give ‘em time – they had an average age of only 16 when they self-released their A New Order For Attack debut in 2013.



The band’s youthfulness was likely the main culprit in the EP's reminiscence of the more commercial moments of the most mainstream moments from The Big Four. Specifically, you hear a lot of the dry guitar tones and Hetfieldian muted riffs of …And Justice For All, while the promo (shot with one guy wearing colorful shorts while a graffiti-covered wall looms in the background) is not the only thing that makes you think of Anthrax.

With the backing of Xtreem Music, probably Spain’s largest independent metal label, the stakes are higher for No Amnesty and their debut full-length, which releases on November 14th.

Psychopathy shows exponential growth and does this without diluting the basic thrash formula. No Amnesty became better songwriters not by looking outside the genre to apply lessons learned, but rather looking from within, strengthening the foundation rather than merely covering it with a fresh coat of paint. The impetus might have been something as simple as someone a bit older pulling them aside and telling them, “Yeah, Metallica is great, but you really need to check out Testament.”

It’s possible that person was their own vocalist, Albert Garcia, who also sings with Spain’s first thrash band Fuck Off -- he joined in time to record Psychopathy and is about ten years older than anyone else in the band.

Although the title of the lead track "NOTLD” makes you think of “C.O.T.L.O.D.,” the song itself closely mimics the opening riff to The Legacy’s lead track “Over the Wall.” The cascading riffs give it that familiar gallop, and you’re soon off at lightning speed. Chunky mosh-friendly riffs can be found throughout, often accented with a strident neo-classicism that you also hear reverentially in modern peers such as Exmortus. Sometimes this manifests itself on syncopated bridges such as on “Among the Blind.” At other times, it’s with clean guitar such “The Prophecy,” a two-minute flamenco-like intro to “Fight below the Fire” that would be great as pre-recorded music for the band to take to the stage. It’s most obvious on the power balladry of “Eternal Light,” as well as with the tuneful leads by Jonathan Soler on virtually every track.

No Amnesty is at its best when the majesty of its early influences incorporate with this newfound musicianship. “Evil Priest” stands out in this regard, as the riffs come at you from every direction; the hooky chorus will get elbows flailing, while the searing lead will have up and coming guitarists nod their heads in approval. “Snake Eyes,” the longest track at five and a half minutes, is multifaceted Maidenesque melodrama presented in triple-time.

No Amnesty was a good thrash band that got even better by incorporating even more thrash into their sound. If anyone ever tells you that you can have too much of a good thing, they haven’t heard Psychopathy yet.

—Brian O'Neill


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