Review by Greg on November 27, 2023.

In line with my recent trend of space-inspired thrash bands, Russian act Excruciation by Silence appeared on my radar with their 2021 debut Metal Madness. We're in for a change, though, as there are no twisted, intricate suites to be found here, nor any altars dedicated to a pick used by Erik Nelson were erected in the process. What we have here, indeed, is for the most part speedy, total '80s-worshipping thrash with lyrics so anachronistic and absurd that they don't even pretend to be taken seriously (the review title is just one gem among many). That's why I was so surprised to see that the band is actually the brainchild of Sergey Stepanenko, aka the same guy behind the uber-serious, Death-meets-Atheist prog death project Critical Extravasation. Well, everyone has to take a break from time to time, I guess.

Now, 'metal madness' stopped being a novelty concept on the scene at least four decades ago, but these guys are really committed to it nonetheless, as should be evident from the tracklist. The album's first tracks are passionate enough to mirror this approach as well, with 'Death to False Metal' and 'Metal Madness in the Distant Space' hitting you with razor sharp guitars, shredding solos, and unstoppable drumming from the first second. The latter is also notable for its intense, epic chorus, and it's hard not to admire the seriousness with which it screams: 'Metal madness among the stars/cry in the void: black metal sucks!'. 'Metal Sect' isn't too far removed either, and when the band starts experimenting on 'Metal Army', they casually end up dropping a killer heavy metal anthem out of nowhere. I swear you could tell me that a demo version of this song was unearthed from a box full of old tapes in K.K. Downing's basement, and I'd genuinely believe it. The guitars try their best to steal the scene with numerous solos and the excellent recurrent line, even if part of the praise should of course go to Alexey Beus' spot-on Halford impersonation, complete with smooth falsettos, helping out on vocals.

The vocals... oh, yeah, the vocals. Well, Stepanenko sure isn't the Eastern counterpart of Bobby Blitz, but his harsh middle range is adequate, and his occasional wails more or less suit the band's light-hearted mission, and I'd say they don't ruin Metal Madness too much (except when he goes overboard with them, like on the insufferable 'Metal Mania'). What does really ruin it, though, is the last regular track. 'When the Night Comes' is the only song without 'metal' in its title, it concerns a totally different subject, and slows down to host a female guest singer. There's nothing inherently wrong about all of this, right? Well, I don't know if it's really Stepanenko behind the mic here, or an unlisted appearance of the guy from Life of Boris, but the vocals are... farcical. They really sound as if your stereotypical drunk Russian middle-aged man in an Adidas tracksuit broke into the recording studio and stopped by to lay down some tracks. I swear there has to be a reason for having left an accent so ridiculously thick, but I fail to imagine it. Anyways, given the song title, I really wish I had been listening to Charlie Kelly's 'Nightman' on a loop for five minutes and a half instead.

At the end of the day, Metal Madness really left me puzzled more than anything. But beneath the surface of inexplicable choices, not to mention one total throwaway song, there's still an evidently above average technique into play, and its first half ranges from enjoyable to very good. I wouldn't mind hearing a new work from Excruciation by Silence with a bit more restraint... but I'm afraid that word might be banned in their rehearsal room.

Rating: 6.9 out of 10