Neanderthal—Rise (2022)

Details

Produced by Neanderthal. Mixed and mastered in the UK. Released in 2022.

For fans of Xentrix, Sacred Reich, Blaze Bayley–era Iron Maiden, Soilwork.

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Band

Alec Shelmerdine – Vocals and guitar
Tom Robinson-Perry – Guitar
Andy Ewings – Bass
Jay McGregor – Drums

Tracks

Intro
Destination paradise
A simple god complex
Rise
Desecration
The death of all emotion
Are we winning_
Cut print kill the pig
Seeing is not believing

Review

Neanderthal hail from Essex and have been shaping their own corner of the UK metal landscape for more than a decade. This latest release feels like the next logical step in their evolution – a band who’ve weathered line-up shifts, sharpened their sound and now stand firmly in their own identity.

Neanderthal have always been a band who carry their history in the grain of their sound. Their latest release leans even further into that identity. It draws from UK thrash traditions while reaching for moments of melody and emotional grit. Across these nine tracks they aim for something both familiar and personal, tapping into the band’s ten-year journey while keeping things proudly rough-edged.

The album kicks off with “Intro” (track 1), a one-minute burst of crunching guitars, clattering cymbals and a melodic solo that feels like a curtain being pulled aside. It sets the tone well – heavy, direct and warmed by a streak of melody that resurfaces throughout.

“Destination paradise” (track 2) is where the album really takes off. The bass growls through the mix with a confidence that immediately reminded me of classic British thrash. The guitars thrash and churn while the drums pummel in a way that had me thinking of Xentrix blended with a hint of Sacred Reich. It is aggressive, but with enough swing in the rhythm to keep things unexpectedly catchy.

“A simple god complex” (track 3) slows things down to a heavy, ponderous crawl. The opening verse hangs on crashing cymbals and a looming riff before it builds into a repeating, rumbling motif. The vocals bark through the haze, and while the structure is simple, the atmosphere carries it. There is a kind of stubborn hypnotism to the repetition, which works.

“Rise” (track 4) returns to that rising, tension-building energy the band seem to love. The start-stop riff is satisfyingly heavy and the chorus hits with a deceptive sense of lift. I like the ambition here, even if the song feels stretched by a minute or so. There is a strong idea at the heart of it, but it circles itself one time too many.

Then we reach “Desecration” (track 5), one of the album’s strongest moments for me. The opening mournful melody over a crushing riff sets the tone, before the bee-swarm buzz of the guitars kicks in. Pinched harmonics squeal and the track mutates through several moods. The progressive middle section adds welcome colour, and the closing chug is a grin-inducing payoff. This instrumental shows the band’s confidence in their own musicianship.

By “The death of all emotion” (track 6), the band’s formula has settled in. Start-stop riffing, guitar flourishes, gravelly vocals that land somewhere between spoken and shouted. The melodic chorus gives me flashes of Blaze Bayley’s time in Iron Maiden. I want to love this track, I really do, but something sits slightly out of reach. The ingredients are solid, yet the final dish doesn’t quite click for me.

“Are we winning_” (track 7) answers that question with a yes. With its galloping rhythm, twiddling solos and punchy bass tone, this one feels alive. There is a real sense of tension as the guitars hack away at the central riff. It is one of the album’s highlights – a track that radiates confidence.

“Cut print kill the pig” (track 8) feels like a burst of classic British thrash. The riff rattles like a runaway diesel train careening downhill with a sack of cutlery tied to it. I’ve no idea what the title means, or where the punctuation should land, but the music is sharp, fast and furious.

“Seeing is not believing” (track 9) closes the record with a familiar palette of crunching riffs, galloping drums and half-shouted vocals. It arrives slightly too late for the album to find a new gear, but it wraps up the journey with energy and commitment.

Conclusion

Neanderthal have built something recognisable here – a distinct personality rooted in UK thrash, sharpened by years of evolution, and delivered with heart. I’ve had this album sitting in my drafts for longer than I care to admit, and I’m glad to finally send it into the world. I feel the same way about this as I do about most Xentrix releases: I like it, but I can’t quite bring myself to love it. Still, there is plenty to enjoy and plenty to admire.

Review score: 65%

Disclosure

To be honest, I can’t remember who contacted me inviting me to review Neanderthal’s debut album, sorry but thank you. I have no connections to either Neanderthal. I’m not being paid to review this, but I did get a free digital copy of the album to review which is pretty cool. Many thanks to Neanderthal for continuing to create fresh, exciting UK thrash.