New York thrashers I.N.C. (formerly Indestructible Noise Command) are back with fourth album, Black Hearse Serenade (Ferocious Records). Their second record since reforming in 2010, the band have decided to take the often risky route of the concept album. Based around religious zealotry, Black Hearse Serenade “tells a story set in Southern California about a broken man, his congregation of runaways, junkies and lost souls and a murderous path to finality. A childhood filled with embarrassment and shame, born of religious zealotry and an overbearing mother, that broken child has now become a man.”

Despite the possibly overblown premise, the album is actually just a solid, groove-laden thrash album. The band – Dave Campo (Bass), Kyle Shepard (Drums), Dennis Gergely (Vocals), Tony Fabrizi and Erik Barath (both Guitar) – clearly like a bit of Pantera and Alice in Chains, but manage to avoid simply rehashing 90s sounds. Opener ‘Stirring the Flock’ is a lesson in pure speed metal; lightning fast riffs and vocal melodies Anthrax would be proud of. It’s a great standout track, but hardly fits in with the rest of what’s on offer. The likes of ‘Sainted Sinner,’ ‘Organ Grinder’ and are all packed with a slower, muscular groove, occasionally brining to mind Damageplan or a less cringey Hellyeah.

Every song is packed with host of big, chugging riffs and a healthy dose of pinch harmonics, while the vocals sway from throaty Anselmo-eque screams to almost Alice in Chains styles crooning. The middle trio of the album’s title track, the furious ‘The Lies We Devour’ and crushing ‘Lucky #7’ are the highpoint, but there’s very little fat here. In fact the only real drawback is when ‘Love Like Napalm’ drags the album to a close. More of a slow stadium rocker, it doesn’t really fit, but offers another side of the band. It’s a small nit-pick on an otherwise enjoyable experience.

Black Hearse Serenade manages to avoid falling into the self-importance trap most concept albums succumb to. INC has created a solid album that owes plenty to 90s groove and grunge, but retains enough energy and song writing chops to ensure it stays interesting over the 45-odd minute runtime.

7.0/10

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DAN SWINHOE