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ARTIST: Chaos Doctrine
ALBUM NAME: ‘Chaos Doctrine’
COUNTRY: South Africa
GENRE: Metal
Dr D (Vocals)
Ray (Guitar)
Alec (Guitar)
Phil (Bass, backing vocals)
Ralph (Drums)




The year is 2018 AD – an age in which musicianship, talent and pure riffage has far too often been forsaken for cheap gimmicks and production tricks.

What happened to the good old days when metal was metal?


It is forgivable to feel a little jaded and wonder why they simply don’t make metal like they used to. Yet every once in a while, something wicked comes this way to restore our faith in metal and prove that the true spirit of metal is not only alive and well, but still has frontiers yet to be explored.


Johannesburg based metallers Chaos Doctrine’s long-awaited debut album is not only a case in point, but a testament to the fact that the riff will always be mightier than the “-core”.

Familiar themes from the past, fearful themes for the present, yet a dystopian audial landscape that bodes well for the future. This is the wasteland of Chaos Doctrine.


The eerie cacophony of the rather lengthy intro paints a bleak picture of what is to come, but once the opening notes of Dia De Los Muertos hits your eardrums, it feels like a cranium-crushing blow of metal mastery that was well worth the wait.


Chaos Doctrine is at its mightiest on FTG, showcasing their diverse musical influences, technical ability and musical vision – a perfect storm of pure thrash metal fury inbred with industrial influences that would even put Fear Factory to shame.


My Demise reaffirms that Chaos Doctrine are heavyweight contenders and a force to be reckoned with on a global scale. The track pounds harder than a Mike Tyson punch and heavier than a freight train.


By the time that you reach the blisteringly impeccable Helix, it becomes clear that Chaos Doctrine are the culmination of musicians who are not only at the height of their individual powers and masters of their craft, but also a breath of fresh air in a scene that desperately needs it.


Incubator meticulously balances aggression, with a most delicate touch of electronics and creepy samples, whilst delivering an absolutely brutal vocal assault and a sick guitar solo.


Whilst Cult might start of at a brooding mid-paced tempo, it soon reveals itself to be a metal juggernaut that slays and once again displays the fundamental building blocks of the industrial-thrash prototype that the band is rapidly perfecting.


The air raid sirens of The Genocide Number sounds serve as a unnerving, yet fitting introduction to a song that not only incorporates the brutally beautiful composition, violent execution and lyrical themes of Slayer, but the attitude of early Sepultura and Testament as well.


All in all, this is a stellar album that you would be a fool to miss out on.


8 /10 horns!





The album is available on all of your favourite digital platforms.




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