MOTIVIK: Death of the Gunman
Thrash metal country-western showdown for the soul
Motivik is a new incarnation – from Atlanta, GA – consisting at this point of multi-instrumentalist Ryan Roebuck (guitars, bass, vocals, drums, programming) and Courtney Simmons (vocals). What is it about Atlanta and all these multi-instrumental/talented musicians anyway (Theocracy, Death Therapy, etc.)? With the help of a few guest vocalists, and with the support of Bill Bafford/Roxx Records, Motivik (which basically stands for motive) released this 9-track debut. 2020 has been the year of mostly reissues it seems, but there have been some noteworthy original releases. Oblivion Myth’s In Your Arms and Eric Clayton’s A Thousand Scars have been independently released and are of two of the best in my opinion, but Roxx snuck this Motivik release in at the last minute – one of those eleventh hour type things – and well … this is pretty darn good!
It’s always hard to review a new band because as a reviewer you always end up saying things like, “sounds like this band, or sings like the guy from that band” and so on and so forth because people need a frame of reference in order to decide if the music is worth their listen. I want to say Ritual Servant at this point, but that wouldn’t be fair because although Motivik shares some qualities with Ritual Servant (namely the thrash), they possess more progressive elements. Oh, so BioGenesis, right? Well … yes, but then that wouldn’t really be fair either because Motivik is only 2 guys, and it wouldn’t explain the cinematic elements.
So you should, at this point, surmise that it’s a good thing that Doc isn’t able to tell you exactly who Motivik sound like. In fact, in preparing for this review, I really drew a blank … and then it hit me – Maylene & the Sons of Disaster! Um … yes and no. So there you have it, this band is indescribable! BUT … the following is my best attempt to illuminate what is going on with this Motivik.
The Songs
The lead-off track “Inception” is a riff-filled, upbeat thrashy piece of metal art with a progressive vibe ala Believer. Instead of pummeling through the entire song with thrashing speed, the song slows during the choruses to allow the full impact of the lyrics to be felt/heard:
“The world bathes in the blood/Of its victims/Casting them in the dust/Forever”
After the second chorus there is an intricate solo section – slow/fast/slow – which also pushes the song in the more progressive direction. “Away” follows in a similar progressive pattern with the alteration of the harsh/speed sections with the more melodic chorus sections. Whoever is singing verses in this song is a dead ringer for Dale Thompson here. I suspect Ryan and Courtney are trading off one another because the chorus sections feature more melodic singing. The style on this song reminds me of more recent BioGenesis material (A Decadence Divine and Black Widow).
The instrumental “Lament” pulls back the reins on the metal fury and has a sorrowful/Tarantino vibe. Effects, programming and background voices/horse hooves galloping/gun shots transport the listener into a movie soundtrack and set the stage for what is to follow.
“The Past of Tomorrow” has a straight power metal edge with intermixed keyboards. Once again, dynamics in pace and vocal intensity give a distinct and appealing style to the music. I think the vocals in this song are particularly strong as well.
All this flows into one of the most impactful and powerful tracks on the record – Sacrament’s “Souls in Torment.” This is a ripping version of this song, originally released on the Haunts of Violence album (1992). It was my favorite track from that release and Robert Wolfe (who sang on the original version) guests on vocals here on this smoking version. He nails it – to me, sounds better than the higher-pitched, more nasal quality of the original. The guitar tone and drum play on this one is primo as well, an excellent shred guitar solo mid-song (as heard on excerpt below).
Jason Weaver guest vocals on “Undismembered,” which has a Tourniquet/Metallica/Megadeth style, Weaver sounding like a cross between Guy Ritter and Dave Mustaine. The intro reminds me a bit of “The Unforgiven” but then moves in a heavier direction. I believe the message falls along the lines of God will never leave you or forsake you no matter how far removed (dismembered) from His presence you perceive yourself to be.
“On the Way Down” is another one of the killer tracks here, just a solid straight heavy metal affair with plenty of melody to boots. If you had to pick a “single” for this record, this melodic shredder would lead the candidates. The words describe the deceptions of the Devil and the world he roams.
“All the way down/The flames burned our eyes/All the way down /Revealing all your lies”
“The Pale Rider” is total thrash shred with very slick lyrics – the showdown for the soul – and at its fateful conclusion segues nicely into “Let it be Known.” After the cinematic intro/transition, the song swings in a distinctly non-metal direction. If you step out of your listening area between these final two tracks and come back during the finale you might think you are not still listening to the same band. This closing redemptive track almost sounds like a country-western ballad – which it very well may be – as it chronicles the resolution of the soul’s dilemma and the fate of the gunman.
This album flows extremely well and is over way too quickly (well, it feels that way at least) in 42 minutes.
If you like thrash and heavy metal (including the bands I’ve referenced in this review), have a love of cinematic conceptual music, and if you appreciate some of the dark schtik bands like Maylene & the Sons of Disaster perfected, then you will find a new friend in Motivik. The music is credible, the production is solid and they have a thoughtful approach to conveying their hope-filled message.
Track Listing:
1. Inception (5:17)
2. Away (3:40)
3. Lament (3:09)
4. The Past of Tomorrow (4:25)
5. Souls in Torment (7:05)
6. Undismembered (4:59)
7. On the Way Down (3:59)
8. The Pale Rider (3:56)
9. Let it be Known (5:17)
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