Between about 1994 and 1999, when I changed jobs and moved to a different area, I had two roles for a major bank. The towns where I worked both had record shops, and I would go in every lunchtime for a rummage. A particular favourite of mine was the CD single. B-sides were, and remain, some of my favourite songs.
Perhaps, psychologically, that’s why I’m so drawn to the EP these days.
“A Leap Into The Dark” is the follow-up to “War Remains”—an album I referred to as “the best of its type since ‘Burn My Eyes'”—and it’s the kind of nostalgic grab bag that I love. Three new songs, a re-recording, and a couple of well-chosen covers.
It doesn’t really matter whether you know them or not; all that matters is that the Richmond, VA mob is very, very special.
“Betting On The End” is immediately chock-full of the kind of slashing riffs that were the hallmark of not just that last album, but thrash in general. The glee in the leads of Will Wagstaff and Zach Monahan (who are as good a duo as there is) and the vocals from Knox Colby that are harsher than usual suggest that if this is indeed wagering on a conclusion, then you’d best believe it’s the end of the world that’s coming.
And if things get a touch more crushing on the title track, it’s only so it can beat you harder. The double kick drums of Alex Bishop are a beautifully brutal thing.
Often in these reviews, you talk about being “moshpit ready.” In that case, “Deafening Heartbeats” isn’t just ready. It’s won. It’s left everyone flat on their backs.
From super fast to monstrously heavy, this album has it all. And the anger that drips from it, like a torrent of violence, essentially sums up the outright class of the band.
They recognise better than any of their contemporaries—that thrash and punk are inextricably linked. On a re-recorded “Casket”, which is less than 120 seconds of filth and fury, they out-Terror Terror, if you will; and if their take on Obituary’s “Deadly Intentions” (which they make their own) does make the two-minute mark, then it sounds like a nightmarish descent into hell.
The second of the two covers—punk band The English Dogs’ “The Chase Is On”—is built around the bass of Ethan Gensurowsky and is, as its lyrics offer, “A cry for help.” It sounds like it’s got it all sorted. Plus, never mind chasing it—you aren’t catching it.
Six songs back up what is rapidly becoming obvious: call it thrash, hardcore, call it what you like—even on this, what amounts to what used to pass for a couple of singles before Spotify ruined music—but Enforced is as magnificent as they are ferocious.
Rating: 9/10
REVIEW: ENFORCED – A LEAP INTO THE DARK (2024)
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