Hemotoxin – When Time Becomes Loss Review

[Cover artwork by Mark Cooper]

Can your band be deemed Bay-area thrash when you’re from Pittsburg(h)? The answer is yes—when you’re from PITTSBURG, CALIFORNIA! Silly me for not realizing many moons ago that the dudes in Hemotoxin aren’t from Pittsburgh, Pennsylvania, which is why I initially hesitated to throw the Bay-area descriptor out there. However, I—obviously—now feel dumb yet comfortable using the term—BECAUSE THEY’RE FROM PITTSBURG, CALIFORNIA! I blame my terrible attention span, which ironically is perfect for metal fans, and the band’s new record, When Time Becomes Loss. But if you’ve listened to Hemotoxin before, you know they tend to reach out beyond the primitive thrash sound.

I remember the early days of being consumed by the thrash metal genre. Like most of you, I first gravitated towards those early Metallica albums. Then, I eventually became consumed by the franticness of bands like Slayer, Testament, Death Angel, and Exodus. Of course, that slowly progressed into a love for legendary death metal bands like Death. 

Each band I mentioned can be found within the DNA of Hemotoxin to an extent. For example, while the thrash metal elements are there, you can hear Chuck Schuldiner’s progressive songwriting. At their core, and most simply put, Hemotoxin is a progressive thrash/death metal band. And this new release is quite the demonstration of just how talented these dudes are and how they capture the essence of what made heavy music of the ’80s and ’90s so alluring. 

Now, with four albums in, Hemotoxin has carved out a sound that fits their personality perfectly. It’s fair to compare their earlier works to the legends of yesteryear (like I did!), even this one. However, probably without notice, these influences flow through the fingertips of the band’s songwriter, Michael Chavez. However, I think Chavez does a splendid job making this Hemotoxin record his signature piece of riff-based proggy thrash/death. When the album was announced, it was deemed one “avowed in a deluge of intricate fretboard finesse.” It’s just as advertised. There is a power and honesty—with the weight of the cosmos—that oozes through the soundwaves. And while fans of old will more than likely appreciate and enjoy this record, I would even go as far as to say that extreme tuneage newcomers will find just as much delight and admiration. 

At just 29 minutes, When Times Becomes Loss is relentless. What will stand out immediately is the production. From the moment “Morbid Reflection” kicks in, there’s an old-school value even that the most gatekeeping-thrash production fans would appreciate. Most of that is found in the grittiness of how the guitar leads and rhythms lay within the mix and how the raspy Schuldiner-esque vocal screeches sit perfectly, too. The record also refrains from being technical for the sake of being technical, much like a band such as Revocation. Take, for example, the second track on the album, “Call from the Abyss.” It’s roughly three-and-a-half minutes of pure aggression but done so in a way that—for lack of a better phrase—doesn’t feel too over the top. Again, the accessibility is there, especially in the song’s back half, featuring some sweet breakneck grooves and a swirling solo. 

Then, you could turn your attention to songs like “Malediction“ and “Abstract Commands,“ which, while still accessible to newbies, are perfect for the seasoned listener. “Malediction“ is an adrenaline-fueled track with the catchiest riffs on the album. The break at the song’s halfway point also shows how the bass and drum arrangements are critical to the ambiance and flow of the record. At times, they also add a layer of chunkiness. There’s an anthemic quality here that I can see hitting well in a live setting. “Abstract Commands” probably encompasses my favorite all-around guitar work from Chavez on the album. 

Once you move into “Conscious Descent,” you can catch a quick breather with a momentary acoustic interlude before being thrown right back into the fire. The bass shines on this track more than any other moment on the album. When you hear it, you’ll know what I’m talking about, but it was a nice touch. The track also has the most tranquil solo, which feels like you’re floating amongst the cosmos. The album’s B-side is my favorite half, largely due to “Reborn in Tragedy“ and the title track, “When Time Becomes Loss.“

On “Reborn in Tragedy,” Chavez shows his ability to crescendo these songs into powerful pieces of work. The track flows like a heroic story arc. “When Time Becomes Loss” is the perfect finale, with triumphant tones and terrific lead-playing. It’s the most complete and robust offering on the album. As far as the listening experience goes, Hemotoxin couldn’t have arranged the tracks any better. 

I found a lot of enjoyment in Between Forever … and the End, Biological Enslavement, and Restructure the Molded Mind. However, the fourth album from the Bay-area proggy death thrashers is their most complete work to date, and I say that with the utmost confidence. Fans old and new of the thrash riff, death aggression, and prog technicality rejoice: Hemotoxin continues the tradition with chaotic charm. And, please, do not follow my lead and arrive with your review to your friends a week late. Dive in now and spread the good word about the mighty Hemotoxin—FROM PITTSBURG, CALIFORNIA!