Toxic Holocaust An Overdose Of Death...

Toxic Holocaust An Overdose Of Death...
Very rarely do the gods of evil align planets so precisely, so perfectly that an album of this magnitude is possible. Toxic Holocaust (singer/guitarist Joel Grind and whomever he can pick up for the touring band) have been hammering out their admirably corrupted fusion of thrash metal, grindcore, punk and hardcore since 1999, releasing a number of EPs and two previous albums in the process. Still, they’ve never equalled the sheer sonic force epitomized by Relapse Records debut An Overdose Of Death... Utilizing his penchant for low-end chug riffs, defined by early ’80s thrash metal, as a foundation to overlay punk rock viciousness, primordial attitude, post-apocalyptic scenarios and death metal-inspired vocal growling, Grind unleashes stunning ferocity on tracks such as "Wild Dogs,” "War Is Hell” and "Nuke The Cross.” Matching the intensity and vitriol of Kreator’s Extreme Aggressions yet advancing it a step further via haunting production and more consideration for rage over technicality, An Overdose Of Death... is frighteningly uncompromising. With a swipe of its hammering pick hand, it single-handedly strips away the kitsch and party atmosphere that has marred the current thrash resurgence, replacing it with anger, desperation and all out Armageddon.

What were your primary influences with An Overdose Of Death...?
Joel Grind: Watching war documentaries, especially about nuclear war. I heard a sample of a war documentary on a Discharge song and wanted to know where it came from. When I searched it out, [it] was awesome — so scary. Certain movies too, post-apocalyptic stuff, ’cause the imagery is cool. It’s horrific: grim and scary vibes. It fits the music more than singing about partying or whatever. Before I knew it, I’d written a whole album about war.

The album is perfectly timed. Thrash is surging in popularity again. How do you feel about that?
I’m fine with it. More people are into now, which is awesome. I don’t like what some labels are doing though. Everything’s thrash, even bands that aren’t [get] called thrash to sell records. The interest is great ’cause it helps out bands that are sincere. There are some originality issues with a few bands but I don’t have a problem with it.

It seems to be working in your favour, given the deal with Relapse and higher-profile tours.
Yeah, after almost ten years it’s finally falling into place. I was never intent on having a record deal. I’d just put out my own records and book my own tours but I thought I’d give it a shot with Relapse. Things are getting bigger and better now. It’s weird but I genuinely like it. (Relapse)