Thrillkiller

ThrillKiller establish their place in the music industry with their latest EP San Francisco Moto.

The EP showcases the band’s talent and versatility. Through only five tracks the band manages to blow me away with their unique sound and blend between different genres from rock to pop and all that’s in between.

The EP doesn’t have a single boring song worth skipping, but it has one that stands out like no other and that’s the title track, “San Francisco Moto.” The song is the perfect representation of ThrillKiller and their unique sound.

Visualising Music
One of the most interesting aspects of the EP is the visual presentation of the songs the band creates through their music videos. Through their videos they give their songs a new life. The most prominent off the EP is the second track “King of 1984.” The song was already the highlight of the EP, then they paired it with an equally interesting music video and elevated it to a whole other level.


San Francisco Moto is only the band’s third release, but I am already head over heels in love with the band. Give them a listen, you won’t regret it. - Indie Band Guru

Surprise, everyone—I'm back! Did you miss me? Probably not. At any rate, here I am, back again after a long six months, writing reviews that no one will see. But that's OK, because I like writing them!

For the few of you that have been loyal and do read my reviews, then you know that one of my favorites to talk about is Thrillkiller, from Baltimore. Their music is such a breath of fresh air in a scene that oftentimes paints itself into a corner or pigeonholes itself once they latch on to a particular sound.

Finding a particular sound is something Thrillkiller has done, and done well. Taking sounds from ’80s pop and funk, mixing it in with the high energy of guitar-based classic rock, and putting 21st century swagger on top, Thrillkiller's multi-faceted sound harkens back to the days when MTV ruled the world; yet never sounding dated or gimmicky, which is no easy feat for any band specializing in throwback sounds.

It is a fine line between paying homage and becoming a novelty act, but Thrillkiller does this balancing act so effortlessly, it feels as if they jumped into the time-traveling DeLorean, brought back everything good from the ’80s, and gave it a revved-up modern gloss. The proof of this starts from the get-go with the opening track, “Theme of Rex Razor”, a short instrumental piece centered around those vibrant, futuristic-sounding synths, coupled with that bluesy guitar sound that is smoldering yet smooth at the same time.

The second song is one that readers may already be familiar with, as it was the first single from San Francisco Moto, released nearly a year ago, and a song I reviewed here: “The King of 1984”, a tune I cannot say enough about because it so perfectly encompasses all of the descriptions I have given this far of the band's music. It's a catchy pop-inspired earworm that can give some of the best ’80s jams a run for their money, while also a hard-rockin’, fist-pumping rock anthem that makes you want to bust out your lighters and raise them high into the air.




The second single and EP title track continues more on a similar theme with the funky bass, soulful guitars, and fiery vocals; but “San Francisco Moto” takes a different turn by adding some sultry sax and a danceable beat. If I had to describe it, to me it is as if the 1980s versions of Michael Jackson and Lionel Richie got together to create the perfect rock song that you can groove to at the same time. It's got that same jazzy disco vibe, while giving us those poppy melodies that “burn rubber” in your brain long after the song has finished.

For all their funk/dance/pop influences, Thrillkiller is still a hard rock/heavy metal band at heart, and they make sure you don't forget it. “Last Horizon”, the EP's penultimate track, is Thrillkiller's heavier side at its finest, with that menacing interplay between Maxim's guitars and Rob's vocals, which always makes me feel like I am listening to the soundtrack to a spy movie or an action thriller.

The EP closer, “Wicked Rhythm”, is a blend of both sides of Thrillkiller: the rock side with the R&B side, and it is catchy as hell. It sounds like a cross between their songs “Passion Killer”, and “In Too Deep” (a song I proclaimed to love so much that I said I would marry it if I could!). Again, I am reminded of a movie scene: this time, it would be during one of those scenes where the main character is strutting down the street after taking down some bad guys, or trying to impress a girl. This hybrid of the band's different influences makes for a perfect way to close out this EP.

What I love about Thrillkiller is that their music is so much fun! It is music you can clap along with and stomp your feet to, and maybe even dance, if you are able. It's got sing-along verses and choruses, and hooks that stick in your head. Thrillkiller has taken everything memorable that we still love about the ’80s, scrapped everything that we now consider cheesy and over-the-top, and crafted their own unique take on those classic sounds with their own modern style. San Francisco Moto is only a 5-song EP, but it is chock-full of different sounds ranging from rock to synthpop to dance. The band has had somewhat of a revolving door of drummers throughout their short time together as a band, but the core foundation of Rob and Maxim, joined with Sebastian, is still solid and has not lost any footing throughout those changes. Quite the contrary, in fact: Thrillkiller keeps getting better and stronger as they move forward, paying tribute at the toll road of the past as they burn rubber on the fast track into a bright future. - Script the Darkness

Thrillkiller is a band which proves that time, at least in the world of music, does not go in a straight line. Blending elements from synthwave, funk, power metal, glam metal, pop, and a range of rock styles; Thrillkiller is both the past and future of music and video. So many sounds from the golden age of guitar solos and high pitched vocals are resurrected, paying homage to the greatest musicians of the 1970s and 80s. Thrillkiller also forges a new legacy, creating a truly undefinable fusion of sound, which defies borders and rejects convention. Styles previously considered opposite one another are seamlessly fused to produce a soundtrack for past, present, and future endeavors. Every track is filled with screeching melodies, killer riffs, and epic solos. Original? Yes. Stylish and perhaps glamorous in the vein of Judas Priest and James Dio? Hell Yes. More importantly though, these guys kill it. Every song shreds, screams, and delivers.

The Baltimore-based band started by vocalist Rob Bradley (Aries and Visionary) and guitarist Maxim Sobchenko is now a five piece group with the addition of bassist Sebastian Ochoa, co-lead guitarist Derrin Ruschell, and drummer Daniel Tipton. Fresh off their hit album “Showdown”, the upcoming EP “San Francisco Moto” is a continuation and a refinement of their work, while also being a huge evolutionary step for the group. Best heard as a full package, “San Francisco Moto” is a mini sci-fi pulp, following the trials and tribulations of Rex Razor: Time Cop. Razor is chasing down a chronotech hacker named Moto, who is alleged to be part of a gang run by rogue time cop Sebastian Snyde. It’s a cult classic Sci-Fi plot and the aesthetic is captured perfectly by the album. Theme of Rex Razor, the most synth track on the EP opens up the album, really setting the aesthetic.

Thrillkiller produced two cinematic Cyberpunk/Sci-Fi music videos for tracks, San Francisco Moto and King of 1984, to really bring the album to life. These two videos, in addition to being a stylish throwback to cult classic films and cartoons like TRON, Back to the Future, Videodrome, Thundercats, Voltron, He-Man and more, were also crowd-funded. The production was fully fan-sourced by Kickstarter campaigns. Therefore, the success of these videos is owed to a growing partnership the band seeks with fellow music and video lovers.

The King of 1984 is the first music video by Thrillkiller. It’s a cyberpunk style bar filled with punks good and bad, a motorcycle gang, and Rex Razor. We got some exaggerated B-Movie fight scenes, a Delorean highway chase, and the classic fire tracks of time travel that are left behind after Razor hits 88 miles per hour. All this is happening while funky bass lines, high pitched lyrics, and solos, both guitar and bass are jamming. At the same time, synth beats are complimenting the track. It’s a fusion of funk and high octaves that, once again, I can’t recall hearing elsewhere.

The San Francisco Moto video is a creative blend of 1980s cell animation popular on Saturday morning cartoons, early CGI, and pure retro style. The seven-minute video is replete with a two-minute cinema introduction, similar to those first popularized by Michael Jackson. Razor drives a Delorean and wears a red leather jacket. He trounces an evil time gang and we’re left with a cliffhanger as Moto isn’t who we imagined her to be. It’s cool, it’s whimsical, it’s loaded with campy time humor. What more could you ask for? Well, a killer title track, that’s what. The song which bears the album’s name is definitely the catchiest on the EP. It has a retro pop background, but the vocals are hybrid between retro and a variety of current styles. I hear so many elements in the melodies, but I just can’t put my finger on it. A lot of Thrillkiller is elusive this way and it’s truly a treat for the ears. It’s one of the reasons we love this band.

Last Horizon is through and through a hard rock/metal track. It rests upon a hard hitting drum beat and sludgy riffs, and high energy lyrics which got my head banging. This is a song that will definitely get people moving, maybe even start a mosh pit. What I liked most about this track though was the killer guitar breakdown. For while metal bands in Scandinavia still shred the guitar quite regularly, the electric guitar solo is a rarity, especially in the key Sebastian and Derrin are using. It’s practically a lost art, with most modern American metal being very lyric-centric today. Thrillkiller is reviving the lost art of utilizing the full talent spectrum of each and every member of the band. All in all, Last Horizon is the heaviest and least synth song on the album.

Wicked Rhythm is another catchy track with retro pop elements, especially on the front end, but also a wicked guitar solo over the synth drums. There are hints of Michael Jackson, Prince, Slash, and Angus Young on this track. It’s the most versatile track. It could be both a dance floor hit and a headbanger. One minute, it’s breakdancing and the next it’s crowd surfing with fists up. I greatly appreciate that it can be all these things and that these elements are not separated neatly apart from one another.

Groups such as Kavinsky, Lazerhawk, TimeCop1983, and Trevor Something have mixed the 1980s imagery and style with modern synthesizing technology to produce some great hits. However, no one is creating the full spectrum of sound that Thrillkiller is putting out. Few but cover bands are making glam metal and the pop/dance rock hits that filled cult classic soundtracks. Certainly no retrowave artists are doing it all in the way Thrillkiller is with every song. I have little doubt that over the next few years, we will see some copycats trying to capture a piece of what is happening right now. We may yet catch wind of a new genre produced solely in the name of categorizing these amazing records. Unfortunately for those who would see these projects captured, repackaged, and sold under the guise of countless other artists, Thrillkiller will be on to producing something more innovative by the time mainstream labels attempt to box it up and sell it. I have faith in the ability of this band to stay ahead of the curve and continue pioneering the forefront of kick ass music. - KJAG Radio

Some strong creative energy has been pulsing from the Baltimore music scene lately. Genre stalwarts and unoriginal acts are beginning to give way to new and exciting music that sets itself apart from everything else. The first EP release of a new band called ThrillKiller is certainly apart of that new energy.

ThrillKiller came about from the sudden split of one the areas favorite power metal bands Aries. Lead Singer Robert Bradley, and Guitarist Maxim Sobchenko joined up with Matt Bittman of Wrightway Studios(Known for working with Mars Volta, Antemasque and Imagine Dragons) to produce a killer and fresh sounding EP simply called Time. For those familiar with Aries’ work, you’ll hear a lot of the things you liked about the band; however, what is even more exciting are the new things you will hear. You’ll still be treated to the vocal acrobatics and soaring melodies Robert Bradley was most known for with Aries. You’ll still hear some of the great riffs and blistering solos, with Maxim Sobchenko working as the sole guitarist on the album. But there is something new, something fresh in the mix. ThrillKiller isn’t a power metal band. In fact I am not even sure what to call it, but it is a clash of Metal, Pop, Funk and Dance music.

The four track EP includes the songs Passion Killer, Time, In Too Deep and The Storm. The tracks have great hooks, strong grove elements and are each interesting to listen to. Each track is noticeably different, while still falling under the same signature that ThrillKiller is trying to develop. I’d love to have something to compare it to, but for the life of me I can’t think of anything that sounds like this. The EP is definitely it’s own brew of original music, and I for one can’t wait to see and hear the future of this interesting project. - Gary Thorn

The local band Thrillkiller had a number of supporters in the crowd ready to watch them open for some legendary musicians. The lead singer has excellent stage presence, as a matter of fact I rank his stage presence as probably best I have seen in a band from Baltimore area in all my years of attending shows in this region. The songs are a tad poppish, but the crowd seemed to appreciate their style. This likely is one of the biggest shows in which the band has appeared as a support act. It’s shows like these that can help a band build their resume and also learn the ropes from members of bands like The Dead Daisies who have been rocking stages for decades. - Metal Nexus