Monday, June 22, 2015
The truth hurts. While so many undeserving acts receive recognition and pundits beyond belief, those whose fates are as tragic and fragmentary as Ghost Story becomes lost in the billowing wind. Fortunately, with the technological benefits ushered in by the 21st century, hunting down an obscure demo such as the Atlanta quartet's ''The Image and the Reality'' becomes a much easier task than to have acquired the demo by tape trading in the early 90's. Ghost Story and their second demo are significant for two reasons: not only does the sound existing within these five tracks possess the potential to champion most thrash or speed metal outings that were being put out by 1990, but the sound itself is quite unique, a stunning tribute to the power/speed/thrash traditions of the 80's that, without conspiring to move the genre's foundations in any manner, manages to become one of the most potent and memorable heavy metal demos of all time.
Yes, you heard it right, and the joke is on you if you're smirking behind your PC reading this, smiling at the laughable crudity of the cover art, because ''The Image and the Reality'' is fantastic. There is no tandem to quality here, since each track serves equal portions of ass-kickery, but I love that the band diverges from the linear thrashing simplicity or speed/thrash filth offered by so many of its peers, and a general feel of power metal here runs parallel to the well-forged arsenal of riffs, which are entirely memorable excursions into the wide fulfillment of the genre at large, and you're bound to hear anything from ''Rust In Peace'' era Megadeth to more progressively oriented speed/thrash a la Angent Steel, Toxik, Coroner and Watchtower to more obscure power/thrash acts from the early 90's like Mystik or Stygian. There is a certain hooking quality to the riffs that makes them both immensely entertaining and also slightly moving. ''I Won't Change'' is a good example, with a broad thrashing rhythm accentuating the verses and moodier breaks into ballad-esque arpeggios and melodic guitar solos. But the group also harnesses these chugging, looming that feels completely satisfying in terms of mood and sway, with pure wisps of clear power metal melody reminiscent of early Fates Warning crowning the remaining bits and pieces. Of course despite the marginal variants, Ghost Story's focus remains a furious dialect of speed and thrash metal, like the excellent verse of ''Repent'', full of twisting but uncomplicated riffs which sound like an awesome addendum that Dave Mustaine forgot to add to his first two Megadeth discs. At any rate, the rhythm section remains extremely tight and killer, with no frugality of headbanging material.
Rob Thompson's vocals here are part of what makes the demo so damn unique. A versatile detachment from the classic harsh Teutonic rasp, but retaining enough audibility, poignancy and an arousing timber to sound fresh, I'd say he sounds like a more controlled, gruffer Sean Killan, but all the same he can seamlessly weave into a different tone according to the undercurrent of guitars: granted, he doesn't feel like a majestic soaring banshee destined to bewilder a listener as on a classic like ''Think This'' or ''Control and Resistance'', but he still sounds almost immediately distinguishable than the umpteenth 80's thrash rehash I'd hear. For a demo, the production here, just like everything else, reigns supreme. Sure, you might need to raise the volume a tad before you can really hear the music, but the drums have a crisp tone to them and never perambulate in terms of volume as on an occasional demo recording; the guitars are copious but they never overfeed the mix; and the bass is surprisingly audible in a Steve Harrison kind of way, ballasting the metallic crevices of the guitars with some sweet, raw lines. In terms of instrumentation, Ghost Story sure dwell into a lot of 'contemplative' discourse riffing, more often than a regular thrash act, but the long moments are never dull as to cull boredom from the listener and they're smart enough to break off from the more melodic, moody instruments-only plateau just in time to cut into a fierce chorus or bridge. Every song is truly legendary here, within its minimal cult status: from the introductory arpeggios of ''I Won't Change'' to the irresistible chorus on ''Silent Masses'' to the unforgettable gap riff midway ''What Few Even Dare'' which has stayed with me ever since my first spin, ''The Image of the Reality'' is one of those rare recordings, which, assuming the shape of another abstruse obscurity, heightens to the level of a full-length, beating so many at their own game that it makes my flesh prickly just thinking about it. Truly, its only fault is its brevity and slightly cramped production that feels only natural. Otherwise, find this at all costs, and if you're a collector of heavy metal demos, you've already wasted your time reading this reviewer's fanboyish rant about it.
''What Few Even Dare''
Sunday, June 14, 2015
It might be a sad fact that Cyclone suffered from anachronisms throughout their brief career, but they nevertheless managed to emerge as one of the best Belgian thrash outfits with only two full-lengths at their belt. While their sophomore was a tour de force in the realms of classic, albeit chunkier Bay Area thrash, complete with a characteristically dark and alluring atmosphere, back in 1986, when Bay Area thrash was just finding its way around the woodwork with cornerstones like ''Master of Puppets'', ''Reign in Blood'', ''Darkness Descends'' and ''Bonded By Blood'', the Belgians were keeping more to the German rule book, boasting a vicious, uncompromising Teutonic aesthetic which Kreator, Destruction, Sodom and Tankard were promulgating at the time, doused in speed metal. As crazed and energetic it may seem to purists, ''Brutal Destruction'' is not the most memorable piece to be excavated from its time, even though the Belgians obviously had a good head start.
Cyclone always seemed one step behind the world, which is probably why they were lost in the throngs. Had this record come out 2-3 years before its release, it would easily had been hailed as one of those cult pre-'85 recordings, with ragged production values and undiluted, sporadic speed/thrash riff ballasts supporting its cult status. But that's not the case here, since ''Brutal Destruction'' feels like an average ringlet in the whole circular universe of thrash recordings, even at a time when the genre was still fresh and malleable. Still, that's not to say ''Brutal Destruction'' is bad; while I'd still say this isn't as impressive or technical as something Dave Mustane would have crafted at the time, speedy guitar licks and delicious lead snippets inserted into a broader, savage thrashing undercurrent, Cyclone is notably 'German' here, with a sound that reminds one of the earliest Destruction and Kreator records peized randomly and stuffed into a nice speed metal cauldron, yet not as evil as some of Sodom's early recordings, stripped almost entirely from all sense of melody. Ripping, ribald muted tremolos and occasional heavier moments that borrowed a riff or two from ''Pleasure to Kill'' give the impression that the band members where still uncertain whether they should go by a more straightforward speed/thrash aesthetic or a slightly more complex hefty thrash barge (it turns out they picked the latter in the end, although not on this record) with reasonably outrageous and corny song titles (''Take Thy Breath'', ''Incest Love'', ''In the Grip of Evil''). Unmuzzled and road-driven as these riffs are, it's hard to take Cyclone too seriously, even with the evident energy bestowed upon their performance: this is 'real' 80's metal for sure, but it also feels more moderate than the higher octane body of works that was being put out at that time.
The vocals give that frenetic Paul Bailoff effect; they're amateurish (not unlike the sophomore) but there's enough shrieking and shouting to be heard to make them enjoyable. I'm not going to lie that the guitar tone and the production levels are surprisingly impressive for a record out of 1986. The chords, the drums and even the plodding, one-dimensional base lines are all suitably integrated into the mix, and if anything, the leads, in all their frivolity, are still fairly entertaining with a sporadic blues attitude, reminiscent more of a ''Kill 'em All'' than ''Infernal Overkill''. To be honest, there are good tracks here: ''Long to Hell'' and ''Incest Love'' are both quite compilation-worthy, fiendish shouting and successively rabid riffs galore. ''Fall Under His Command'' is probably my favorite tune here, possibly because of its swirling panorama of guitar solos and a bulky, percussive main riff coupled with some more fanciful, tremolo picking episodes, but in the end, none of these tracks are really on a par with the premium material that was being released in '86-'87, nor do they cast a wide net of creative reinforcement upon the genre. Needless to say, I'd vie for the Belgians' sophomore over this any day for its sheer crushing majesty, but ''Brutal Destruction'' yet remains as one of those half-unearthed mid-80's speed/thrash gems that deserves a discovery (or rediscovery) at the hands of collectors or purists, and even beyond that it remains a spry and rampant declaration of the genre's hostility against those who supposedly flattened out its tires with tongue-in-cheek during the early 90's. Poseur-free as always.
''Fall Under His Command''
''Long To Hell''
Wednesday, June 10, 2015
Unable to come into commercial fruition due to the financial constraints of Justice Records, Cyclone ''Inferior To None'' is perhaps one of Belgium's best-kept secrets of the 80's and early 90's, not solely for the fact that I've almost never seen a genuine metalhead give a nod towards its direction, but because it retain some of the 'classical' approach of thrash that largely dissolved by 1990. In fact, so much of this album's musical constituents are built on the foundation of ''Master of Puppets'' and a handful of other pivotal Bay Area thrash records that it's hard not to admire the Belgians' commitment to the transition from the rougher, frolicking Germanic aggression of their debut ''Brutal Destruction'' to the grandiose scale of this record, even if took them 4 years. I imagine ''Inferior To None'' was still sucked in by the painstakingly devoted heavy metal subculture existing in and around Belgium in the 90's, but even today you could count yourselves lucky if you caught a glimpse of it scanning lists or obscure forums, which is shame because this is easily one of the best Belgian thrash outings, ever: I'm not going to shake my head and moan in despair for the sheer underestimation that has entailed this record for over 25 years, but this would be a good place to start on telling you why you should start adding it to your collection.
Surprisingly, ''Inferior To None'' is less glazed and technical than, say, a band like Forbidden or Atrophy, sporting a dense, dark production quality that I can't exactly equate with any other thrash recording of the 80's or 90's. You have to give the Belgians some props because despite emerging on the dawn of groove and grunge the songs here are don't sound anything like Pantera of mid 90's Sepultura, with the groove and swagger of the rhythm is not unlike the transformation of Chastain on their 1990 ''For Those Who Dare'' which also bolstered 'groovy', even modern-ish production levels in contrast to the grainier texture of their USPM/heavy metal output in the 80's. But that aside, ''Inferior To None'' is such a dark and classy adventure full of riffs and fantastic, bulky drumming that it easily overrides the primal aesthetics of the debut, with pummeling verse riffs and lengthy songs not unlike the ones on ''Master of Puppets''. Of course the album doesn't contain one 'Leper Messiah' or 'Damage Inc.', but you can bet that the approach is similar, coated denser guitar tones and a far more ominous atmosphere than bands which were performing thrash in the early 90's; I also wouldn't say any of the songs are infectiously catchy, but honed with care and precision enough to make this one tantalizing bulk of a riff-fest.
Guido Gevels's vocals, admittedly, don't quite hit the sweet spot when it comes to operatic skill. I would compare the man to Sean Killan, but more controlled, yet despite this his fanciful singing falls perpendicular to the crushing parade of riffs and proves to transcend what might have been a painful attendance to thrash vocals 101, and instead we get a surprisingly effective performance. He'll occasionally go for a resonating shriek or bark, not unlike those of the legendary engineers of the Teutonic howl, like Millie, Tom Angelripper, or even Ron Royce of Coroner, as on ''So Be It'', and indeed even though I've dubbed ''Inferior To None'' a 'controlled' album, it only acquires that tag as an improvement over its predecessor, because there's such a wall of well balanced flesh and chaos to be enjoyed here that Gevels's raspier moments still hold credibility. To be sure, the leads here are spurious but not to the point that they're on par with the gigantic rhythm department which looms over the record like the daunting, titular door on the cover. The chugs and palm mutes are so scabrous and majestically heavy that ''Inferior To None'' doesn't always feel a far cry from a doom record, with something like ''The Other Side'' serving as a middle-paced crusher, delivering thrash justice. ''I Am The Plague'' is one the shortest pieces on the record and in my opinion, rushing and vivacious while still retaining the album's signature heft and eeriness. The band also manages to elude typical thrash/heavy/power pitfalls by supplanting a generic ballad for the beautiful instrumental ''Crown Of Thorns'', a sweeping humdinger with percussive, even anthemic drums and moody transitions.
All told, I wouldn't be able to cite so many 'golden' moments on this record since everything isn't exactly so different from one another (a few moments truly stand out) and I wouldn't have minded a greater sense of melody for a record of such depth; but in the end it all comes down to the sheer effort put into this powerhouse, which leaves me wanting for more. How many bands were performing thrash like this in '90? Devastation and Demolition Hammer would put out their respective anvils in the following few years, but those would be roving far too flirtatiously with death metal to be called 'pure' thrash. Even Sepultura would abandon the uncircumcised brutality of ''Beneath The Remains'' for something slightly more technical with ''Arise''. All the tech-thrash bands - Coroner, Toxik, Watchtower, Mekong Delta, you name it - were configuring intricate guitar palettes with machine-like precision (I actually do love their releases at that time, but that's another story) and there was little room for what Cyclone were harboring. It's far from perfect, but just settle on the ''Crown Of Thorns'' and give this disc a chance - you owe it yourself, thrasher.
Crown of Thorns
I Am The Plague