German thrashers Anti Anti Anti’s Amor Anti is a record that’s all about business. The album took three days to record, which is reminiscent of the way thrash bands of old worked: it is fast, quite aggressive, and it doesn’t have the slightest interest in pomp and circumstance. Across its 12 tracks, Amor Anti delivers exactly what the band promises from the first minute, which is a consistent mix of Anthrax, Exodus, and even a nudge to D.R.I. and Nuclear Assault at times, judging by the length of most of the tracks, which range from one to three and a half minutes. Of course, you can’t expect technical show-off, as there’s simply no time for that, but, in return, Anti Anti Anti succeed in putting your head in a blender for nearly 30 minutes.
Opener “The Lies of Men” makes us fear, at first, that the whole album will sound slow and dull, but things change bit by bit during the song and we realise that, somehow, this has to be a tribute to any regular Exodus song. While the solos do not shine, the riffs are quite sharp and fast. Tracks like “Why Can’t You Die?” or “Craving Fire” are solid examples of the speed and aggressiveness that the band insists on instead of guitar heroics. The album covers a wide thematic range usually associated with thrash bands: the state of the world, capitalism, social criticism, alcohol and hangovers. All is delivered with enough fun, but also with scepticism regarding better times to come. This approach is a mash-up of frustration and irreverence instead of philosophical introspection.
The production is intentionally raw, which only brings forth that 1980s feeling. Everything is simple and balanced, and the mix favours punch over clarity. While the vocals sit slightly forward, the guitars are punkish with a bit of distortion on top, while the rhythm section keeps everything grounded. The rough sound is part of early thrash aesthetics, and the band seems comfortable swimming in that pool. While nothing seems to be wrong, the obvious has to be said: consistent as it may be, it all sounds the same over and over again. This limits several targets that Anti Anti Anti could explore. Those who like straightforward crossover will find the record frantic, while others looking for experimentation or some sort of novelty may be disappointed.
Still, this seems to be the path that the band chose, at least for now, and in that sense Amor Anti is unpretentious, competent, and honest. It won’t convert listeners who aren’t already inclined toward this corner of punk-thrash anarchy, but for fans of fast, old-school, crossover-leaning metal, it’s a sturdy album that keeps its promise. If only we could hope for a promise of something bigger, even if about a time that is still to come.
