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HYDRA VEIN
Perpetual Violence Machine EP

Iron Shield (2025)
Rating: 7.5/10

Following their woeful return in 2022 with the Unlamented album, once cult UK thrashers (now based in the Netherlands) Hydra Vein issues a new EP. With its generic cover art and daft, formulaic title I had little hope for this release, but was somewhat pleased they had parted company with vocalist James Manley-Bird and so, just out of curiosity, I jumped on board and found myself enjoying Perpetual Violence Machine.

New vocalist Ross Curry brings a no frills old school style which transports me back to the halcyon days of British thrash. He’s gritty and somewhat obscure, and the drums are very much the same, and although the mix is rough it seems to benefit the sound of the band. There’s a rawness and underground 80s thrash vibe here which also boasts a surprising selection of neat little melodies under its cloak of aggression.

Thankfully, this is not a contemporary slab of faceless belligerence. Instead, Hydra Vein opts for something more modest yet engaging, digging deep into the files of nostalgia and build upon a hefty spine of bass from sole original member Damon Maddison. There’s weight throughout, but the EP is also littered with brooding darker moments; ‘Black Slammer’ chugs with such a density and my favourite track ‘Iron Men’ seethes with black melody. I’m not sure Hydra Vein will ever find their true sound, but I certainly hope the current line-up remains stable and this style of thrash continues.

The faster doses are apparent from the off with the opening title cut whereby the combo comes together with an almost San Francisco Bay Area aggression, but Ross brings a subtlety even though his vocals are menacing. Admittedly, there are times when the percussion of John den Buitelaar seem to struggle in the mix, the result being a bit crash bang wallop, but it almost adds to the indie feel. Damn, if this had come out in the late 80s I’d have been more than happy.

‘Strive For Life’ drips with fury where this time both drums and bass collide like scowling titans as the axe work from Henry Pol and Curry cause great plumes of steam to rise from the scrap yard. Again there’s that obscure melody, somewhat nullified by the thick, almost messy production, but it just feels and sounds right. A killer lead skids from the metallic fire as the vocals drip with sweaty brooding. However, many fans may be somewhat surprised by closing cut ‘A Thousand Forms Of Fear’ which grooves like Bay Area thrashers Mordred circa 1992 and a New Wave Of British Heavy Metal vibe; it’s hypnotically cool and groove-based and slightly out of place with its Thin Lizzy swagger to a backdrop of chugging guitar. You’ll also find a sneering Megadeth-style of melody amongst the intensity this EP offers, but forget the cover art and blunt misleading title; they don’t do justice to what is a sneakily infectious and gritty slab.

I’ve followed Hydra Vein since the demo days, purchasing my copy of their debut platter Rather Death Than False Of Faith from the legendary Shades record store in London back in 1988. I’m glad they are still going and gladder still that they’ve released a piece of work that takes me back to that era.

Neil Arnold

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