Written by Jay Oakley
Detroit’s Hate Unbound is a five-piece band that’s about as heavy as it gets. Aggressive vocals mixed with intense playing set the bar high for any bands who challenge them. They have released their debut album, Plague.
Opening up the album is “Baptized In Lies.” Deep, growling vocals highlighted by a heavy bass drum attack and a well-placed guitar solo to show off their shredding ability. “Cut” has a much more open design to the vocals, a little slower and cleared with the song being based around a series of heavy guitar riffs. “Suffering” has my favorite into of all the tracks. Heavy drumming, intertwined with a higher pitched, squealing guitar riff. The song then settles back to the normal vocal pattern of deep, slow and gritty. While I like the track, “Burn Your Idols” is somewhat of a throwaway track. The vocals are solid and the drumming is very pronounced but it lacks some individuality. It sounds somewhat repetitive to the other tracks and gets lost in the shuffle. “Soiled” is my standout track. A gritty, down and dirty track that has a hint of sleaze to it. It is also a bit faster than the other tracks. “Puncture” is intro-ed with major double bass drumming with some solid guitar licks backing it up. The guitar riffs in the title track “Plague” have a really sinister feel to them. The vocals have a roaring sense to them with the guitars and drums standing strong. A searing guitar solo brings the track home with style. “I, Martyr” opens with a semi-acoustic feel before lunging right back into the intensity. It definitely doesn’t stray from the big picture and keeps the riffing, drum heavy style. “Grey Skies” is not without its charm but similar to “Burn Your Idols” it falls a little flat and generic. “The Fallen” was actually a great choice to close the record. It’s like taking a trip to Hell. Riff heavy, crazy drums and super in-your-face vocals.
All-in-all I think this is a solid record that brings a much needed breath of fresh air the death/thrash metal scene. Especially, for anyone who misses that Pantera-esque, moshing style of music. My biggest criticism is the bass has absolutely zero presence and feels like it doesn’t exist. It’s important for the bass to have its moments and features so it can play its part in the orchestra.