Album Review: Triskelyon - Artificial Insanity
Reviewed by Sam Jones
I’d been hearing a little about this band now and again, so when I observed an opportunity to review it I thrust myself forth. Triskelyon, based from Newfoundland, Canada, are a thrash act who formed only in 2021 but have managed to release a good chunk of material already. Their self-titled EP came out only last year and was quickly followed up by their debut full length titled Downfall, along with a Moribund Records deal too. Now less than a year on; Triskelyon are already seeking to unleash their next studio effort titled Artificial Insanity, and via independent means as well. Lined up for an early September release, I haven’t heard much Canadian thrash lately so I was looking forward to seeing what exactly Triskelyon were all about.
It’s curious to encounter a work of thrash metal that’s actually a little lighter on the senses than what we’re really used to finding. Triskelyon’s style of thrash is one that attacks us head on and provides all the intensity and bass we’d want to find but they’ve ensured their audience won’t feel any major pressure upon their shoulders throughout Artificial Insanity’s forty-six minute runtime. When you listen closely to the riffs, they aren’t seeking out your throat or face at any point; in actuality the riffs are pretty reserved and choose to pull back for the much of the record whilst the vocals take centre stage. With this perspective, Triskelyon are a much more collective thrash band whereby the overall performance of this record is derived not merely from the ripping riffs alone, but by how the entire band puts forth their efforts together to craft a soundscape that’s energetic but still capable at settling us easily into their sound.
Returning to the aforementioned vocals, it’s good to come across a vocal performance that’s able to exude this higher range of pitch and timbre then your typical thrash act would demonstrate. For the most part, Triskelyon’s vocals showcase a more visceral aesthetic but the method they’ve been performed with has resulted in a firmly controlled delivery that understands when to hold back, and when to really let loose. But time and again, there are instances when the vocals ease their way out of the higher range and adopt a more gruff, baritone level that really draws us in since we don’t get many vocal styles that do this, especially when the higher variant is the primary delivery.
While Triskelyon’s thrash attack isn’t the most vicious we’ll receive this year, the band compromise and provide a solid foundation by which the album bounces off of, as well as aiding us in maintaining our engagement. In this case, the riffs are further in the back of the mix which has resulted in the more methodical form of guitar work here; the band aren’t out to destroy us. Yet, the drums more than make up for it should fans have wished for a more blistering thrash attack; the drumming and bass drums in particular craft the soundscape by which the rest of the instrumentation can work off of. It did surprise me how quickly the drumming come come down on us though considering the reserved nature of this record, but the bass drums were a welcome delight and certainly layered the record’s bedrock in a ground we can touch. Doing so has enabled Artificial Insanity to feel more real and while I couldn’t describe it as fully well-rounded, it definitely gives the band a space to work with so their songwriting isn’t just flowing into empty space.
Since we know this isn’t the most volatile thrash record out there, it comes as no surprise to realise Artificial Insanity is pretty blocky in its pacing. With tracks all within the same length as each other, and the intensity of their songwriting never rising too high, Triskelyon’s performance is one that sees us really feel that forty-six minute runtime as we trudge from one song to the next. However, I can also say that keeping their pacing to the steady variety we have herein means we stew cor much longer within these varying soundscapes. We’ll certainly feel like we’ve lived in these songs for the steadier pacing gives riffs and songwriting time and space to breathe without feeling like they’re having to rush to the next track. I do commend them for this as it fits right into their reserved aesthetic; should fans want something more blistering they’ll know where to go, and therefore this record could be an ideal example of a gateway thrash album.
In conclusion, Triskelyon’s second full length album is one that doesn’t mind fans taking a break from now and then before continuing on from where they last left off from. It’s refreshing, for once, to discover a thrash band that aren’t geared towards utter devastation but, rather, crafting a record that an audience can simply put on and vibe to. With more than forty-five minutes to work with, the band still stuck to their guns and applied songwriting that saw every minute feel earned and needed for what their performance entailed. The band aren’t rushing themselves along in spite of the evident speed and energy they’re still capable of churning out. Artificial Insanity is certainly a potential gateway band for any budding thrashers, and their closing cover track of Platinum Blonde’s “It Doesn’t Really Matter” cements the tone perfectly; Triskelyon aren’t seeking to kill their audience, rather they’re looking to entice them inside for more material up their sleeves. All in all, a quality thrash album that will have you glued from start to finish.
