BLOODRUST — Burning of Aeons (review)

BLOODRUST — Burning of Aeons album cover Album · 2020 · Death Metal Buy this album from MMA partners
3.5/5 ·
siLLy puPPy
Emerging from one of the last places on Earth one would expect to encounter a death metal band, the one-man act BLOODRUST is really the alter ego of Richard Keenahan and hails from Stanley, the capital city of the Falkland Islands which is that island group (also known as Las Maldivas) off the southern tip of Argentina. Obviously bored in a limited location where the population of the entire island chain is less than 4000 inhabitants, Keenahan has channeled his tedium into a veritable style of old school thrash / death metal that evokes early Slayer, early Metallica and nascent death metal acts like Morbid Angel.

Keenahan handles the duties as vocalist, guitarist, bassist and drum programming. So far three albums have seen the light of day with this debut BURNING OF AEONS emerging in 2020. With a total of seven tracks, this album packs a ferocious punch and at a shorter playing time of just under 34 minutes doesn’t wear out its welcome. BLOODRUST could definitely be considered one of the many retro extreme metal bands having mined the past in the 80s extreme metal scene by incorporating elements of not only thrash and death metal but also features some speed metal tricks and chugging twin guitar attacks of the NWOBHM scene.

Stylistically BLOODRUST is far from original but at the same time doesn’t quite sound like any particular act from the past. The trick of this artist is to incorporate key elements of various artists and tease them out in a completely new methodology. In the process certain tracks exhibit a Moribid Angel rampage, an Amon Amarth sense of melodic death metal touches (including the gruff vocal style), a sense of NWOBM guitar soloing and even an Autospy sort of filthy veneer. The fascination between the 80s era where thrash metal was morphing into death metal is apparent with clear references to Slayer and Sepultura. Despite the drums seemingly being programmed, the percussion on this is excellent as are all other instrument duties.

Overall this is a compelling musical statement that if released 40 years ago or so would rank up there with any of the classics but even its 21st century timeline only relegates it to an excellent listening experience but lost in the sea of equally talented bands that have nailed the classic retro sounds of the nascent years of extreme metal. Personally i find this to be a near perfect execution of this mishmash style of retro extreme metal. Keenahan has clearly mastered the art of mimicry and has executed his vision with a passion and zeal absent from many a retro band these days. This is a very satisfying album and the fact it emerged from a land down under literally unknown for anything on the world’s musical stage makes it even more interesting.
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