"Tolerance Collapse" Review #1

Self-released (2014)

Rating: 8/10

Overlord is a one-man thrash band that I really enjoy listening to, and have done since the Tiempos Antares debut which emerged in 2011. Since then, the one and only multi-instrumentalist known as Flatuleitor has carved out quite a career, resulting in a trio of albums, with this one following on from 2013’s Blackout.


The man rises every morning out of Santiago, Chile, and believe me, this is the sort of thrash metal you should get up for too. Forget the current batch of pretenders; Overlord is a sneering, dry-throated and nefarious project which comes complete with some truly staggering soloing and thrash compositions that blend grisly black metal and technical old school thrash metal in the vein of old Kreator and the likes.


Considering this guy was born in 1991, I can only applaud his knowledge, maturity and passion for thrash metal, and bow down and worship some of the blistering numbers he has to offer here. Clearly pissed off with the world, Flatuleitor finds time to let off steam amid a barrage of evil drums, raw stripped down guitars and earthy bass, but without sounding like all the crust-covered, punk-influenced black metal bands doing the rounds. Instead, this is best described as no frills yet thrilling thrash metal.

This release has everything you’d want from a thrash metal album; the chugging riffs which make way for starker practice to a progressive bass ramble, those vicious, ash-coated vocals which come to life on the likes of ‘Don’t Fuck With Science’, the snarling opener ‘Karadima Boys’ which vents anger and condemnation at the Catholic church, and the technical prowess of ‘Modern-Days Skeptic Flux’.


It’s one of those albums that deserves recognition, because I can only guess at what this guy could be capable of with a more substantial team behind him. If – like me – you’ve been brought up with primitive thrash metal then Tolerance Collapse really is going to be your thing, because it boasts clever lyrics, some superb riffs, solos and fluent structures which enable the record to haunt the ears like some malevolent spectre. While old school Kreator comes to mind, I’m also hearing the likes of Protector as well as Sadus within those scathing rhythms and bestial vocals.


While there may be countless bands called Overlord, make sure you lend an ear to this one. As one-man bands go, this is mightily impressive thrash metal. Laced with melody and hinting at death metal with shades of blacker influence, this is at times a progressive extreme metal experience that only gives us a glimpse as to what this man is capable of.


Neil Arnold

Note: I read this review months ago and I thank you Neil for your comments about the album. It means a lot to me, thank you.

This review was retrieved from:

Flatuleitor out.

Reasons to EXIST

Get ready for the metaphors.

Every individual has a sort of engine inside. It drives you through life and it works sort of decently in the different roads you have to pass through because sometimes to drive in a highway it's not the same as driving through the dessert or through a fucking swamp (got it?).

You'd need different kinds of engines for different scenarios and that's the reason why there are so many different types of cars. Some are better for traveling through city, others for the countryside and the like.

So here it comes the problem. You only have ONE engine. And which type of engine it is? I have no idea. Do I know what kind of engine I have? I'm almost sure but not 100%. It is very important to know what type of engine you have in order to know which type of road to take. You can't go to the mountain in a mini-cooper or drive around the streets in a fucking tank.

I have thought many times since I was a little kid that if something happened to my fingers or to my hands so they have to be removed or something, I'd have 2 choices: go to the countryside in solitude and cultivate the land for ever or kill myself. I wouldn't float around like a dumb motherfucker with a goddamn thing in my hands to play the guitar. Probably I wouldn't take the shit that involves to be in that situations so probably I'd go for the second option.

So the only thing that really makes me happy is to play and listen to music. But mainly to play an instrument. I'm free while I have the strength. I make the rules. It gives me power and control. But not in the sense we are used to:

If you look closely you can see that the guy in the picture is actually happy.

It gives me power in the sense that I'm able to control the world around me, escape from reality maybe (personal shit right there). 

At least that was the way I used to feel. I have to say I'm under a BIG-FUCKING-MASSIVE-MONSTER-ASS VORTEX OF STRESS. So I have no energy to play a fucking string. That's why my music sucks so hard recently. But that's o' right, I'm in the final year of my career studying to be an English Teacher so they have to put a lot of weight on us. The problem is I'm always too tired to play the guitar (or the bass).

But fortunately that brings some results:

FCE certificate

Living and trying to EXIST.

Flatuleitor out.

Update #6

I cancelled everything for the 3rd time.

I don't like that music. I don't like MY music. I don't like the way it sounded, the arrangements, the speed, the character and the textures of the songs, even though some people did like the "demos".

I don't feel the joy and the pleasure to write music as I always have. I don't felt the CONNECTION with my music, almost if they weren't my children, unlike what happened with other songs from other albums. I don't felt they are part of me, that they don't belong to me. It is strange since I have acquired some ability to write riffs by practice through almost 6 years of being into Thrash Metal.

Thrash Metal. Once it was part of my existence. I would say my everything. I lived to play solos like in the records I used to listen the most and live the life of a "thrasher" was an inspiration and a way of living. All my friends were part of that at that time.

Through my records with Overlord I tried to develop a level of mastery by my own. Experimenting with everything. Through all the albums I made I tried to achieve that level until last year I made the effort of my life and recorded "Tolerance Collapse" which I feel is the most important achievement of my life. But that's all. What comes after...

I didn't want to recognize it but I have to admit it with sheer honesty. Thrash Metal has boundaries. When I was a teenager I thought Thrash was infinite and endless in all its power and aggression, and I continued thinking the same until very recently when I saw it clearly: there it comes a point where you reach the end of the road and I have to pick sides:

• Go back and walk it again with more knowledge
• Fuck it all and move on to the next level
• Break my head until stroke trying to find the new shape for Thrash to come

I cancelled the album because I tried new harmonies and textures that just didn't work. So it is very frustrating at this point. VERY FUCKING FRUSTRATING. 

Will those motherfuckers that download music on the Internet know the shit us musicians have to take to make music? All the emotional instability that causes to create new paths? All the pain and joy deprivation?

Flatuleitor out.

Update #5

A long time has passed and I probably will continue leaving more empty spaces in this blog.

This is what has occurred with the goddamn record:

• I have the tracklist done, and I hope it won't be any more modifications. I sincerely hope so.
• The concept for the album is almost done, I have to think about it even more.
• I have some good riffs already laid down on Ableton and some of them are quite novel.
• In fact, I have started with 7 tracks of 8 that I want for the album. I have some of the names for each one of them.
• I've got the basic structures for each of those 7 tracks, I only have to order them and fuck around a little more.

I have been recording with a plugin "THD" or something, and it has some good sounds and presets. In general terms it's pretty awesome, except for the FX's which are not as good as the amp models. The problem is that for the palm-mute technique it doesn't represents what I'm actually playing, it sounds the same as it was played with "hand-open".

So I'm thinking of playing with the reliable good old ToneLab. I have the sound in my mind, so it's only a matter of dedication and patience of tuning the pedal board and finding the one that comes closer to what's on my mind. After that I can modify the shit out of it with my arsenal of plugins.