Destruction’s "Birth of Malice": A Resurgence of Thrash Metal in Turbulent Times
The departure of founding guitarist Mike Sifringer in 2021 has seemingly injected new life into German thrash metal veterans, Destruction. Under the unwavering leadership of vocalist/bassist Schmier Schirmer, the band has consistently delivered powerful albums since his return in 1999. While none have quite reached the iconic status of their seminal 80s trilogy – "Infernal Overkill," "Eternal Devastation," and "Release from Agony" – their latest offering, "Birth of Malice," stakes a claim as their heaviest to date. With the world grappling with geopolitical tensions and the rise of right-wing extremism, Destruction’s return feels timely and necessary.
Schmier, the driving force behind Destruction’s lyrical content and musical direction, is confident in the album’s potential, describing it as "very diverse" with a mix of "catchy songs and cool riffs." He acknowledges the challenge of balancing speed and heaviness, elements inherent in Destruction’s DNA. While speed remains a core aspect of their sound, Schmier has honed his ability to craft groove-laden, “tank tempo” tracks that resonate with fans and add depth to their repertoire. He cites Slayer’s evolution as an example, noting how the band transitioned from the relentless speed of "Reign in Blood" to a more mid-tempo heaviness in later releases. Destruction, however, maintains their connection to their fast-paced roots, recognizing it as a signature element that defines their sound.
"Birth of Malice" features a standout track, "Scumbag Human Race," which embodies this "tank metal" approach. Schmier describes the song as a metaphor for the world’s lament against humanity’s destructive actions. The title, initially conceived as a humorous take on the underwhelming Mark Wahlberg film "The Happening," evolved into a potent statement reflecting Schmier’s concerns about the state of the world. The song’s lyrics serve as a scathing indictment of humanity’s disregard for the planet and the resurgence of dangerous political ideologies.
Schmier’s outspoken nature extends beyond environmental issues to encompass the troubling political landscape. He expresses dismay at the rise of right-wing parties globally, including in his native Germany, and criticizes Elon Musk’s endorsement of a right-wing German party as disrespectful and inappropriate. Schmier connects the current political climate to historical patterns, highlighting the recurring nature of societal problems and the dangers of unchecked immigration. He believes the current challenges stem from past policies and emphasizes the need to learn from history to prevent repeating past mistakes. His anxieties extend to the global stage, expressing fears about the potential for escalating conflict, particularly in the context of a destabilized America and a potentially emboldened Russia.
The album also addresses the pervasive influence of misinformation in the digital age. Schmier recounts Destruction’s own experience with a bot attack on their Facebook page during the onset of the Russia-Ukraine war. This incident inspired the song "Cyber Warfare," which tackles the manipulative power of online propaganda and the ease with which false narratives can spread. He laments the susceptibility of individuals to online manipulation, particularly those who lack the time or resources to critically evaluate information. He draws parallels between historical forms of propaganda and the modern techniques employed online, arguing that the same manipulative tactics are being used with greater efficiency in the digital realm.
On a lighter note, "Birth of Malice" finally features a self-titled track, a significant milestone for the band. Schmier explains that the pressure to create an anthem worthy of the band’s name delayed the creation of such a song. He felt the time was finally right after returning from tour and reflecting on his connection with the fans. The resulting track, "Destruction," captures the band’s energy and legacy.
The album also includes a surprising cover of Accept’s "Fast As A Shark," a song Schmier credits as a pivotal influence on his musical journey. He believes it may be the first German speed metal song and praises its innovative riffs, double lead solo, and rebellious spirit. Schmier considers the song a formative experience, a catalyst that contributed to the formation of Destruction. He expresses his respect for both Accept guitarist Wolf Hoffmann and former vocalist Udo Dirkschneider, acknowledging the complexities of their relationship while appreciating the successful separate careers they have forged. He criticizes the trend of reunion tours, viewing them as exploitative of fans’ nostalgia.
Finally, Schmier addresses the recent lineup change, acknowledging the sadness surrounding Mike Sifringer’s departure. He emphasizes the importance of finding a replacement who respects Sifringer’s legacy and contributes positively to the band’s dynamic. With Martin Furia, their former soundman, stepping in as the new guitarist, Schmier feels confident in the band’s future. Furia’s familiarity with the band and his respect for Sifringer have facilitated a smooth transition, ensuring Destruction’s continued strength and creative momentum. "Birth of Malice" stands as a testament to Destruction’s enduring relevance, a powerful statement delivered in a world teetering on the edge of chaos.