Polish thrash metallers Snake Eyes are having their second coming, and have and will be playing quite a bit of shows. They actually formed two decades ago, and on their first run (2002-2012, release-wise), did put out a demo, an album and an EP. I confess I didn't heard about them back in the day. Guitarist Sewko (ex-Bottlekopf) is the only original member (and they've had "a few" people in the line-up during years!), the band wasn't really inactive at any point, I believe. So, any new-found energy?

When thinking about thrash metal, I can happily state that Snake Eyes do not directly remind me of Exodus, Kreator or Sepultura. Or any other well-known thrashers, for that matter. That's a good, and more importantly, way more interesting start, no matter what the conclusion will be. Snake Eyes cross over to some melodic death metal and also heavy metal, giving them extended playground to operate on. The album's atmosphere is grimy and dark. Instead of pizza 'n' beer parties it dwells in coldness and delinquencies, and is rather technical here and there. So, this one includes some straight, some labyrinthine parts, which do not always feel fully fluidy in their shifts. Actually they do continue where the 2010 debut album 'Beware of the Snake' left them, just boosting their characteristics more. The closer is a long instrumental song, but still mixes calmer, ominous parts with metal stuff, and each instrument gets its spotlight in this progressive piece.

The vocals are definitely better, even though stylistically just as limited, as on the debut album. New voice Marth doesn't get outside of her raspy growl-like, quite demonic, output. It does bite at its best, and also isn't feminine like, say, Angela Gossow (ex-Arch Enemy) or Sabina Classen (Holy Moses), but sounds more like her countrymates Marta "Martex" Meger (Immemorial, ex-Enter Chaos) and Weronika Zbieg (Totem, ex-Sceptic). Let's put it this way: It's far less vivid as the music, but it doesn't stay on one voice. It also sounds like it was recorded with a sock over a mic (no pun intended), which muffles the voice. Weird. Also, when they use multiple vocal tracks, it's not very effective (compared to Deicide's "demonic duets", for example).

The lyrics are often based on literature, at least some of them are. 'The Masque of the Red Death' takes a lot of Edgar Allan Poe's writing and 'Talamasca' is based on Anne Rice's fictional secret society, while 'Roi de Rats' is inspired by James Clavell's "King Rat" novel set during WWII. Generally, the lyrics are written with characteristic touch, as I really see no metal music clichés in them.

Instrumental-wise, the production job is also better this time around. It definitely is not plastic like so many modern thrash metal albums tend to be (but yeah, this isn't "modern thrash metal" anyway). Generally, the sound is somewhat flat. The cover does not move me at all, and really does not give any hints about the music inside. Okay, the band logo is thrash enough, but... It looks very bland. In all, the presentation is somewhat lacking.

It isn't an easy album to listen to, and it's evident that there's something bubbling in it, but I could not get into it via tens of listens. However, 'No One Left to Die' could offer some interesting moments to those who would like to hear something like a mixture of Holy Moses, Coroner and Enter Chaos.

Rating: 6 (out of 10) ratings explained

Reviewed by Lane
02/22/2024 18:24