Triple Kill have exploded onto the live Melbourne Metal scene just this year, with their tidal wave of gigs a testament to their immediate popularity. Triple Kill have captured the imaginations of Melbourne’s Metalheads in record time, and still managed to exceed all expectations with their debut release, The First Kill. Short and sharp, there’s not a dull moment on this career-launching smorgasbord of Metal. The album’s prologue, Prelude to Infinity, sets a powerful, ominous and mythic scene – leading however into a punchline that I won’t spoil, but that undercuts the apparent solemnity with the ludicrous.
That being said, the humorous moments are judiciously applied. Infinity Gate is to a strong degree a Metal cliché of a song, in the vein of Brutal Legend. However, it is executed exceedingly well, and is very enjoyable for that. Judas Priest are an apparent influence, though the track has darker and heavier elements in its fast-paced riffing. Rodney Goolagong has an impressive vocal entry, and guitarists Anthony Commane and Daniel Mackie team up to deliver strong solos. The track is engaging, episodic, and moves along well.
Legions is more evocative of Ripper-era Judas Priest than Halford, heavier and chunkier than the previous track. Legions is a mainstay of Triple Kill’s live set, and loses nothing of its live energy in its translation to a studio recording. If anything, like a fine wine, it’s only grown more powerful. The latter part of the track develops a lumbering and discordant element that proves excellent for slow headbanging.
Blades takes it up another notch, delivering the listener into territory bordering on Death Metal, though there are tongue-in-cheek elements to the music as well. Goolagong’s vocal delivery on this track’s verses is reminiscent of Testament, while the choruses are more uplifting. The great guitar solos lead into a refrain that seems just made for live performance, before a very chunky outro.
Swarm is an interesting track that is reminiscent of Devin Townsend’s March of the Poozers. It is a dark and ominous track, with an instrumental section that very astutely evokes the feeling of being engulfed in a pestilential swarm. At the same time, the album’s black humour comes out with the shout, “Are you seeing this? It’s a giant fucking worm!” In contrast, the Arabian overtones hint at almost Lovecraftian horror, and the frenzied close of the track is the fastest, most insane part of the album that is a testament to drummer Connor O’Keane.
The album closes with the epic Walls of Flesh, which takes its time to build a mediaeval flavour. It is alternately grandiose, and fast and heavy, reflecting the intensity of a Dark Ages battlefield and the march of oncoming enemy hordes. The middle of the track includes a slower, more reflective section that is Opeth-like, and is disciplined in returning to the action via riffs and solos, and showcasing the bass acumen of Ethan White.
Overall, The First Kill is a bold statement of Triple Kill’s entry into firm standing as a powerful act in the Melbourne Metal scene, whose demand will only grow. Triple Kill demonstrate their work ethic not only through this excellent release, but an intense gig schedule; so do yourself a favour and see what these guys are all about.