There’s a lot to like, but much of it is marred by less stellar cuts and ineffective song placement.

If I had to guess, this is the song that forecasts the band Tymo will become.īut that isn’t the band they are now, and as fun as this album is, it shows. The true standout, though, is “War Beneath the Skull,” another slower-than-expected tune that nonetheless delivers a level of dynamism boarding on proto-prog and the true standout. “Age of Deception” slows things down to a mid-paced chug without sacrificing attitude, delivering the album’s only gang chant and some fun bass soloing. “Estrogenocide,” with its unrelenting speed, righteous solos and over-the-top lyrics, tells the story of a world ruled by women, with the unlucky men disposed of in various horrific ways. The beatings commence right away, but things don’t get fun until second track “Mars Attacks,” an ode to the film of the same name and a competent thrasher to boot. Tymo is here to thrash and chew bubble gum, and it would appear they’re all out of gum. Bands of all stripes tend to put a lot of effort into crafting moody, atmospheric openers that don’t ultimately serve as effective intros to what comes next. Album opener “Tymonicide” serves as a genuinely engaging intro instrumental. Tymo aren’t interested in spending much time bashing your face in, because they probably have a bar to get to and episodes of Rick and Morty to re-watch. Musically, there’s a (varicose) vein of good ‘ole 80s thrash running right through the center of the entire album, giving The Art of a Maniac a pleasing, if not wholly original, nostalgia factor that continues to propel the thrash revival ouroboros.Īnd propelled they are. These comparisons are all the more apt considering song titles like “Mars Attacks,” “Sanity Clause” and “Alcoholocaust.” On the other hand, the vocals aren’t nearly as hardcore influenced as the former or as heavy metal-adjacent as the later, with Tymo opting instead for the tried-and-true thrash snarl, more reminiscent of acts like Havok and Warbringer. Their sound and visual style tend to evoke bands like the previously mentioned Municiple Waste and Gama Bomb. Tymo is an interesting conglomeration of inspirations and influences. But do Tymo have what it takes to scamper to the top of the liquefying heap of so many other thrashtastic hopefuls? Throw in plenty of nods to fellow genre miscreants like Municipal Waste and Gama Bomb and a few classic flourishes, and you’re in for one riffy ride.

I’d made the right call though, when I learned that these Alberta-bound Canucks not only walk the walk but talk the talk, contributing another mighty slab of unrelenting party-thrash to the never-ending thrash revival. It evokes the very best of over-the-top 80s thrash album covers, complete with a comically sinister figure in the foreground (in this case evil Bob Ross with his very own shoulder-Kuato), a post-apocalyptic cityscape in the background, and more vibrant colors than a Lisa Frank trapper keeper. Between threats of violence and comparisons of bicep circumference, a blessed soul shared the album art to Tymo’s second full-length The Art of a Maniac in the AMG group chat.

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