Review by Jeger on December 6, 2024.

The Bronx, New York's own Demolition Hammer - founded in 1987 - are a gem of an extreme metal band whose influence is still felt today, despite the fact that they released a mere three LPs from 1990 - 1994. They've been active again since 2016, and have played some one-off shows here and there since their reformation, much to the enthrallment of diehard extreme metal fans whose gluttony for punishment is insatiable. Demolition Hammer's bludgeoning synergy of death and thrash metal is something like if "Pleasure to Kill" era Kreator and "The Bleeding" era Cannibal Corpse met in some seedy bar, fucked in the backseat of an old Duster and nine months later shat from the womb the most abominable creation imaginable. In 1992, Demolition Hammer unleashed their sophomore effort, Epidemic Of Violence via Century Media.

Mud, blood, beer and broken bones are what DH are divvying out here. Metal for the circle pit and for cocaine-induced psychosis. Total fucking destruction as incurred upon you with cranium splintering grooves, face pulverizing breakdowns and ass blistering leads in tracks like "Human Dissection" and "Pyroclastic Annihilation" that incite violence and animosity on a primal level. The former hits like Exhorder on steroids, while the latter drives forward chug after thrash-laden chug and jackhammer beats like a frenzied gang beating where you're left battered, bloodied and praying for death to end the pain of the blunt-force trauma. A group of primitive caveman miscreants feeding on adrenaline and operating on nothing more than sheer bloodlust are Demolition Hammer, and extreme metal has rarely sounded this good since the release of this monumental record.  Fuck head-banging; this is music for basement torture and dismembered corpses in garbage bags. Nothing technical or flashy, just speed and brutality like a frantic stabbing or a curb stomp at shotgun point.

The titular track - a late '80's styled thrash attack: pure aggression, unbridled attitude and relentless speed. True thrash metal like a Paul Baloff cream dream but compounded by nasty death metal gutturals and down-tuned distortion. This is the shit that kids were ripping bong loads of Mexican brick weed to as they lit stuff on fire; the stuff of parental nightmares during the prime years of death metal infamy. Denim and leather, chainsaws and Louisville Sluggers, vandalism and riots… An epidemic of youth-crazed violence to terrify entire communities, and it only gets more intense as each second of runtime unfolds.

A blood-soaked masterpiece! A diamond in the rough and a testament to the never-since-matched extreme metal climate of the early '90's. Bands like Demolition Hammer and Morbid Saint were the under-sung heroes of '90's extreme metal in the United States - overshadowed by bands like Pantera and Slayer, yet highly influential in their own right. A cult following is more dignified than a mainstream one, and it's bands like our boys here that keep the true spirit of extreme metal thriving. Put on Epidemic Of Violence, chug a tall boy and break something in the name of the good old days. Here's to random acts of terror! Here's to Demolition Hammer…

Rating: 10 out of 10

Review by Felix on November 7, 2019.

...and the same goes for the band's name and the artwork... We go back to the year 1992. Thrash metal seems to be dead (fortunately, today we know that it was only in a comatose state). "When the Storm Comes Down", "Renewal", "The American Way" and "In Search of Sanity" - these words are already engraved on its tombstone. However, there is a mighty force that strikes back. Its name is Demolition Hammer.

I have seen the exuberant reviews on this side and I broadly agree. Nevertheless, I never had the thought to build an altar for Epidemic of Violence, because I don't think that each and every song is a killer. In contrast to the vast majority of other albums, the second half blows your mind, while the first half sounds good without reaching the top level. The most exciting part of the pathologically brute album is kicked off by the title track, which is placed on the seventh position. The last three songs lend the album a touch of immortality. They bundle the strengths of the combo in a fascinating manner.

The title track is driven by irresistible leads and Steve Reynolds, lead singer and bassist, sounds angry and absolutely pissed off. Okay, his angry voice is an important feature right from the beginning of Epidemic of Violence, but these details don't matter. The seventh track with its sudden tempo changes shows that even extremely ferocious songs profit from a fairly catchy chorus. But "Omnivore", the following track, is even more brutal. Epidemic of violence, indeed! "Omnivore" seems to be the sonic depiction of a deadly shot of a sniper. Its precise, sharp and straight hooliganism violates any usual form of aesthetics. More or less the same applies for the closer. In spite of the fact that the band has written another concise chorus with an iota of melody, "Aborticide" presents the audience a total mutilation of beauty. It makes clear for the last time that Demolition Hammer's heaviness is based on brutality, vehemence and ruthlessness. Whatever stands in the way of this grim triple strike at the end of the album, the songs unleash a storm that will blow everything away.

The further tunes are anything else but bad. In terms of style, they are aligned with the aforementioned explosions. It is interesting to note that the songs do not put the focus on a smooth flow. They sound choppily (yet professional) and the staccato riffs are surely a reason for the extra portion of sadistic violence. The production supports this compositional approach, because it spreads a certain coldness. Unlike various thrash bands, Demolition Hammer did not create a racy sports car, but a surprisingly maneuverable steel colossus, a tank that fires continuously. Their unpitying version of thrash does not really border on death metal, because animalistic growling and low-tuned guitars are missing. It also does not contain even the smallest grain of black metal. Yet it lies in close proximity to brutality itself. Needless to say, that the high velocity of the compositions does the rest.

Epidemic of Violence is probably not a masterpiece of compositional brilliance, it has lost a few percent of its power over the years and fans of diversity should not look out for this album. But it has some great tunes and another crucial advantage: back in 1992, it was a statement against the effeminacy of (more or less) the whole scene. Completely pigheaded, the band members tortured their instruments (and nobody thought that their next output would join the list of the aforementioned lukewarm outputs). Maybe with the exception of the title track of "The American Way", the albums that I mentioned at the beginning are forgotten. Epidemic of Violence lives on. Isn't it great to be a part of such a righteous community?

Rating: 8.2 out of 10

Review by Adam M on July 15, 2015.

Sirenia perform symphonic heavy metal that is largely atmospheric in nature. The album does differentiate itself highly from Nightwish, for example, because of a more gothic aura. The Seventh Life Path probably shares more in common with early Within Temptation.

Some of the operatic moments take some getting used to, but eventually overcome the listener with power and grace. The songs feature a good deal of melody that delightfully combine with these opera moments. The result is a group of tracks that are vibrant and poignant. However, there is an issue with the album lacking originality and an inventive twist. It is very much surpassed by something like The Silent Force and one could foresee more expansion in the future improving the material found here. Still, with repeated listens the symphonic moments begin to mould into more interesting thoughtful musical moments. One might underestimate the complexity of the music on first listen. This is certainly an album that is more rewarding on future listens than some other female-fronted bands.

In a manner akin to Epica, there is a lot of musical directions that require time to appreciate. Once everything is put into place, Sirenia’s music is able to have an impact, however. The portions involving symphony stick out more from the remainder of them. Overall, the effect of the album is a pleasant and involving one after a few repeated listens. Still, in comparison to The Silent Force or If_Then_Else, this album comes up a bit short. More practice might make this band be able to stand up to the best works of Within Temptation or The Gathering. As it stands, The Seventh Life Path is still an interesting listen.

Rating: 7.5 out of 10