Album/EP

thrown - Excessive Guilt (Album Review)

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Heavy Metal Wordsmith

Aug 28, 2024

7 min read

thrown - Excessive Guilt
Released: August 30, 2024

Lineup

Marcus Lundqvist // Vocals
Johan Liljeblad // Guitar
Andreas Malm // Guitar
Buster Odeholm // Drums

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They've been leaving their mark upon the heavy music scene since forming in the midst of COVID in 2021, and now the time has come for the world to bear witness to what Swedish hardcore/metalcore foursome thrown have in store for us on their debut, Excessive Guilt.

Commencing with the ear-piercing riffage of standout single 'guilt', we're led to Marcus Lundqvist's daunting vocals stating 'I can't forgive myself for the things I've done' while Buster Odeholm thumps away on the kit behind him as Johan and Andreas wait for their chance to strike with duelling guitars from the 30-second mark. Once thrown start firing on all cylinders, all that's left is chaos and 'guilt' serves as a familiar introduction of what's to come on this release. By the time 'backfire' kicks in, you should be well and truly warmed up for the onslaught as the band blends their metalcore, djent and hip-hop influences perfectly with plenty of pick scrapes, a two-step inducing backing soundtrack that amplifies the song and its formidable breakdowns and neck-snapping beats. Lyrically, we're turning the inward personal attacks outwards with poison-filled venom directed towards someone who most definitely deserved it.

As Marcus screams, 'I am living inside your head / You want me gone but I think I'll stay / Took it way too far and now it's time to pay / Keep losing sleep in the bed you made', you can't help turn the track into your own personal theme song for someone who wronged you, and constantly reminds you of your flaws. If the 2 minute length doesn't hit hard enough, just smash that replay button and lose yourself again.

There's nothing else that needs to be added to the 'on the verge' discord that hasn't already been said. The single that launched the band worldwide - after being recommended at a ridiculously rapid rate on streaming platforms - is absolute perfection. From the misdirection of that hip-hop sample, through to Buster's unrelenting bass beats, this song will bring out the best in you - whether it be on a run, bashing out those reps at the gym or ramming the nearest brick of a human in a moshpit setting - there's a reason this song was heard worldwide - it's one of the best releases in the past few years and proves you don't need an overly long or overproduced clusterfuck of genres to connect with purveyors of heavy music.

AND, that breakdown rap verse is still so fucking tight.

Heading into new territory with 'bitter friend', we're met with a slower intro and looming synth that finds the band leaning in on their hip-hop style. As you're drawn in slowly to Lundqvist's distorted scream/rap delivery, you'd be a fool for thinking the tempo will remain this pace for the duration, because once that 45-second mark hits, the HEAVINESS returns and thrown shows off a nu-metal-esque verse that'll even have Fred Durst spinning his red cap in appreciation. Along with a menacing synth that constantly builds tension throughout, the band switches between the soft rap side and the headbanger's paradise with precision and conscientiousness. That ability to fuse two songs in one continues into 'nights' which kicks off as another brutal tension builder before completely shifting gears halfway through and evolving into a a completely different track. The breakdown throwdown doesn't let up and not since Limp Bizkit's 'Livin' It Up' has this scribe heard a successful genre switch-up that doesn't ruin the listening experience. 'look at me' leans into the use of synth and hip-hop beats that are complimented by the brutal nature of thrown's aggressive instrumental assault. When all four members are locked in, expect nothing less than bedlam as displayed in the chorus with Marcus belligerently repeating, 'I ain't calling for help, just let me fucking complain / Look at me' over and over again when addressing his internal battle with anxiety while using music as an outlet for cathartic release and reassuring. Sometimes you just want to scream at the top of your lungs and not be judged or accused of "vaguebooking" in the process. When thrown play this song live, live out your guilt-free inner pleasures and scream along too - it's the personal 90-second therapy session we didn't know we needed.

'dislike' returns us to a guitar-centric core staple, complete with DJ-scratching for good measure that further taps into the nu-metalcore energy experienced and felt throughout this record. Boasting big bass and kick-drum force alongside exceptional free-flowing vocal deliveries, you'll pick up on certain sections and be firing them out line for line with each following spin. Soaringly intricate guitar playing takes us to completion as Marcus guides us with a final statement that cuts deep for whoever is on the receiving end as he spits venom once again when screaming, 'yeah why should I give a shit / bout what's been said by a hypocrite / got no real reason to hate me / so get off my dick!'

OOOOOOFT!

Now, despite being only one minute in length, what 'ignored' manages to do to your listening experience in that time is better than some of the more recent cookie-cutter metalcore albums in recent years; proving less is more when simply blending blastbeats with gurn-inducing riffs and crisp screams. There's even a cheeky bark thrown in for added value. 'bloodsucker' directs its anger themes towards someone taking advantage of others, and with that in mind, the end result is just as lethal as anticipated. thrown draw upon their strengths and innovation to make sure every twist and turn in this one is covered - there's not a single moment of submission as the outfit tip-toes down between menacing core hit and ferocious rap/rock concoction with production akin to that of the album's earlier material and lead-singles. 'vent' ups the ante and intensity (momentarily) as it teases and taunts the listener with impactful speed at one point, then slowing things back down in what would be their closest approach to a hardcore-blends-nu-metalcore mashup - done in a way only thrown can pull off. Concluding with a duelling scream vs whisper outro, this band once again showcases their impeccable talents and proves their musicianship is a force to be reckoned with.

With most heavy albums, the final track of the record is usually the statement piece that wraps up the experience for the listener and leaves them complacent with the experience, or frothing to go back in for another spin - 'so done' wastes no time setting itself up as the big final battle for thrown - and yes, it more than lives up to expectations. From the up-tempo drum hits and circle-pit-inducing chunky riffs, it's a smorgasbord of intricately placed best bits that'll have even the biggest of audiophiles snapping their necks to the beat.

Vocalist Marcus Lundqvist really taps into his expressive energy throughout the entirety of Excessive Guilt - which isn't done in an overbearing or clamant kind of way - as he always sets the pace and timing of each song, regardless of the instrumentals playing behind him. He really is a shining star on this record, but so is drummer Buster Odeholm - who brings the best out of his bandmates with his skills and production. I also truly believe in the playing power of Johan Liljeblad and Andreas Malm - as time goes by I'd love to see these guitarists tango more with each other, as they both are responsible for key signature shifts in some of the most complex transitions on the album.

All in all, Excessive Guilt is 20 minutes and 48 seconds of fast-paced, feisty nu-metalcore at its absolute purest. thrown have set the gold standard for short, attention-grabbing tunes that aren't overflowing with unnecessary background filler; and in doing so have set themselves up for an exciting future with endless possibilities. As time passes, I'd love to see the band incorporating live DJ scratching to really enhance the backing sounds on certain tracks in a live setting. Until then, I'll settle for another round of throwing down to some of the best and most innovative genre-blending this side of the new millennium.