Even the best newer thrash metal bands tend to sound so much like the classic bands from the eighties that they ultimately end up feeling like watered-down versions of those bands. Part of the problem might be that the parameters of what constitutes thrash metal are quite narrow. However, Peru’s Miserable proves that it’s perfectly possible to wear your eighties influences on your sleeves and still come up with something that sounds fresh and timeless. Their second album ‘Esclavo Miserable’ has more dynamic songwriting and a larger amount of melodic depth than most of their peers, without forsaking the hungry aggression of thrash riffs.

Never have I heard a band so clearly influenced by Metallica sound so unlike Metallica. Many of the riffs on ‘Esclavo Miserable’ could have been on an unreleased album between ‘…And Justice for All’ and the black album, but Miserable has its own unique sound. The riffs and rhythms occasionally have an old school death metal feel to them, while the melodies are clearly rooted in traditional heavy metal. Also, ‘Esclavo Miserable’ frequently has a dramatic flair that you just don’t hear very often in thrash metal. Adrián Del Aguila’s rough-edged clean, but powerful vocals add to that unique approach as well.

‘Esclavo Miserable’ is the first Miserable album recorded as a band. Their 2018 debut ‘Gran Náusea’ was more or less a solo project by Del Aguila, with some musicians helping out on the instruments he could not play well enough. Those musicians include the entire band on ‘Esclavo Miserable’, but the fact that they contribute to the songwriting this time around is audible. Especially the impact the incredible drummer Diego Porturas probably had on the rhythms is noticeable, but it would be hard to imagine the many strong lead guitar themes on the album without Jonathan Bustinza and Marcelo Vásquez having at least a hand in the songwriting process.

Despite the dynamic nature of the songwriting, Miserable knows how to thrash viciously. ‘Esclavo Célebre’ and large portions of closing track ‘Sobre Mis Ruinas’ are built upon tight palm-muted riffs at a high tempo. That is ultimately one of Miserable’s biggest strengths: their truly progressive approach to songwriting doesn’t go at the expense of the aggression that defines thrash metal. Even the more varied songs feature some intense riffing. Opener ‘Desprecio’ might have the darkest, most introspective verse on the record, but also plenty of dense riffs with atypical rhythms. And the way ‘Quién Escupe la Verdad’ changes atmosphere multiple times without ever sounding disjointed is nothing short of brilliant.

In Europe and North America, thrash metal appears to roughly only come in two flavors: so old school that it borders on self-parody or so modern that it’s barely even thrash anymore. Miserable proves that there is a middle ground and the results are spectacular. Despite largely using elements from the late eighties and early nineties, they combine them in a way that never sounds dated or overly built upon nostalgia. The powerful, organic mix definitely contributes to the impact of ‘Esclavo Miserable’ as well. Every thrash fan owes themselves at least one spin of this album. Members of thrash bands should take notes while doing so.

Recommended tracks: ‘Quién Escupe la Verdad’, ‘Sobre Mis Ruinas’, ‘La Profecia del Esclavo’