Shrapnel’s move from traditional ‘thrash’ to something else may not be everyones cup of tea, and whilst the die hard thrashers amongst us may struggle with the direction, anyone who likes heavy music can’t ignore the quality of the output… we will hand over the digital quill to Paul Hutchings for his review….

It’s been four years since Palace for the Insane stormed the top tens of 2020. A career high for the Norfolk based outfit, it appeared to be the album to elevate them to the next echelon of UK Thrash Metal. Sadly, the band was unable to capitalise on the momentum, and Aarran Tucker’s departure in 2022 left the band with a big hole to fill. Undeterred, in stepped Reaper UK’s Dan Moran, a small man with a big personality, and no little talent. His performances with Reaper and with Shrapnel that I have seen, have always impressed.  

First single In Gravity arrived in early December, and with it the first ripples of uncertainty around the UK Thrash world. Two more singles have followed, Amber Screams in February and more recently Guardian. Well, it’s time for the whole album to be unleashed.  

Questions have been asked about the direction of a few Thrash bands in recent times. Lost Society and Dust Bolt have defiantly changed direction, whilst Evile’s most recent release didn’t exactly grab the headlines, with a more melodic approach favoured. Well, I doubt those who want the style that Shrapnel delivered on The Virus Conspires or Raised on Decay will be happy about In Gravity. It’s a wider, more balanced style of writing, deceptively clever, full of intricate elements that wrap around you and get inside your head.  

The title track is a powerful opener, whilst the melodic parts of the spine crushing Amber Screams, which sees Moran provide some of his best vocal work of his career, doesn’t detract from the heaviness that is delivered. You don’t have to go at a million miles an hour to be heavy.  

For those yearning for high tempo Metal, Guardian should sate the appetite. Chris Williams has a deserved reputation as one of the best drummers in the UK scene today, and his performance on Guardian, and indeed, throughout In Gravity is phenomenal as he holds everything tightly together with a performance of sheer powerhouse dynamics.  

Whether the change of style on tracks like Breaker will appease the diehards is difficult to say, but there is ample savagery within this track for me. What is apparent is that Moran brings a totally different dynamic which has assisted with Shrapnel’s evolution. Songs like Judgement with it’s underpinning Groove and lighter vocals work incredibly well, demonstrating that Shrapnel are now not afraid to experiment.  

Listen to this once and you’ll likely dismiss it. Play it several times, and you’ll either fall deeply for it, or be unable to continue. I suggest that there is no middle ground. Thankfully, I found the album to be a real grower, and on each play, I opened more and more intriguing developments. Dark Age for example, has a delicious hook on the chorus, whilst the punishing riffage of Follow the Cold leaves you in no doubt about the band’s heritage. 

Yes, you can play spot the influences – there’s plenty of Metallica, Trivium and even a bit of Dream Theater if you listen carefully. There might be a bit of more modern Metal lurking in here, but it’s not in any way a direct replica. Yes, there’s the mandatory acoustic guitar bridge on As Above, a haunting piece that segues into … So Cold, but again, it’s not something that causes me any consternation.  

The last third of the album maintains all the power of the front end. … So Below is ferociously fast, with Moran’s cleverly layered vocals giving this a new dimension. He’s surely one of the best vocalists in UK Metal today, with his ability to easily drift from raging roars to delicate cleans. By the time you get to final track Kingmaker, You’ll either be totally engrossed in In Gravity, or you’ll be throwing it out of the window.  

For all the negativity I’ve seen, In Gravity is a superb album. The songs are short, sharp, and aggressive. The musicianship of Moran (Bass as well as vocals), Williams and the dual guitar work of lead axeman Nathan Sadd and rhythm man Chris Martin is on point. Tight, fluid, and perfect in most aspects. It may not be old school Shrapnel, but it is a clear evolution of a band embarking on a new trajectory. They still have all their thrash teeth. Give it a chance. Allow it to breathe and see if after a week it doesn’t grow on you.

Shrapnel – In Gravity is out this Friday (31st May) via Candlelight Records