Master's Hammer - Ritual [1991]

Master's Hammer's debut ''Ritual'' is one of those albums which comes with your early second wave black metal starter pack, along with such cults classics as ''A Blaze in the Northern Sky'', ''Hell Symphony'', ''Burzum'', ''Diabolical Fullmoon Mysticism'', ''De Mistiriis Dom Sathanas'' and ''In the Nightside Eclipse''. Yet somehow in terms of 'cultness' ''Ritual'' exceeds the reputation of all the aforementioned records, a grisly, Eastern European response to Celtic Frost/Hellhammer, a record that stands the test of time both with its inherent sense of menace and evil, and its seemingly casual rawness, earning the praise of being 'the first Norwegian black metal album', despite belonging to the Czech Republic. Granted, the early 90's exemplified the sheer crudeness of early black metal, and before the time when Scandinavian black metal outfits poured from the skies like devil spawn during the mid-late 90's, there was a brief stone age, an antediluvian margin of time where demons devoured each other, angel carcasses were abound, and Master's Hammer subsidized some of the most ungodly music around.

Of course, it helps that the market was very unsaturated for black metal back in 1991. Robed in subtle overtures of atmospheric synthesizers and obscure beauty, ''Ritual'' channels a fundamental uniqueness in addition to its undiluted black/thrash hauteur which would later bequeath their sophomore masterpiece ''The Jilemnce Occultist'' with the title 'black metal operetta' which still holds today; looming keys a la early Emperor (though I would argue Ihsahn was probably more influenced by the Czechs than the other way round) are not dominant here, but they have a masterful, huanting quality which perpetuate the kind of folksy, ritualistic ambiance which Master's Hammer channel, especially with longish tracks like ''Pad Modly'', but really, keyboards are just a fragment of what makes ''Ritual'' such a bonafide attraction of early black metal. Where Burzum bathed in constant fuzzed darkness and embalmed forestry, Darkthrone practiced sheer, impenetrable evil, taking the Hellhammer influence to far colder region, ''Ritual'' was all about these mid-paced, almost groovy and syncopated chord progressions, octave laden but not melodic, and while the grittiness of this record still partakes in the rudimentary ghastly mess of Tormentor, or Celtic Frost circa 1985, there is a ribald and sinister feel to the riffs as they congruently evolve into more intricate, well-developed adaptations of their source material, perhaps slightly interchangeable, yes, but nonetheless varied and retaining sufficient clarity within the guitar and drums to appeal to fans of both 'cult', extinct demos with dilapidated production values, as well as connoisseurs of newsprint black metal recordings and those third wave acts like Ragnarok and Nokturnal Mortum.

It's not that ''Ritual'' doesn't feel like a doom metal record at times, it does. I don't always find this expropriation of 'pure' black metal aesthetics and dive into slow Celtic Frost territory very appealing, as in tracks like ''Geniove'', since the synths which back the lurching guitars at this point are hardly potent enough to create dream- or nightmarescapes on their own, providing a mere choral aural undertone to refurbish the rhythm department, and needless to say the band is better on its fast-paced, black/thrashing fervor. But whatever song is played, except the instrumental title track and atmospheric intro, vocalist Storm does a great fucking job of perpetuating the atmosphere with these raw, unhinged barks, that sound surprisingly professional. Some resonance, and the dude sounds like a fucking turbaned Bedouins smitten by leprosy, barking and coughing his way through the songs as though half-burnt and half claimed by a tumorous death; I'm even more in favor of his inflection in the second Master's Hammer record, where he romps up the performance with demonic coughs and sardonic laughter, but at any rate, with its distinctly entertaining shoveling of Czech lyrics, ''Ritual'' is one of the strongest contender to black metal vocal work far and wide across the genre. The native lyrics, while seemingly ostracizing for some, frankly add a terrific degree of calculated and almost poetic clamor to the record in general, and as with just about all heavy metal albums sung with their native tongue, I love this.

Like most early black metal recordings, ''Ritual'' lacks the longing and frigid mysticism of, say, ''Transilvanian Hunger'' or ''In the Nightside Eclipse'', but that's not to say it's a damned impressive offering overall and a record that was very much ahead of its time. ''Jama Pekel'' with its percussive, blast-beat oriented thrashing verse attacks and pungent, declarative chorus line alone should be able to convince any follower of the black metal cult that this is a record which deserves more recognition, full of winding and dark corners twisting into crude semi-nightmares and thunderous Eastern European skies, it is a record which very much evokes the jagged patch of terrain represented in its cover art, one of those midnight haunts every witchfinder should indulge in if he/she can find the time, and surely enough they will. Or, you could also regard it as level ladder to climb the theatrical cavalcade of their sophomore, which easily remains their best, and gleefully take pleasure in the skeletal liturgy as you work your way to the top.

Highlights
''Jama pekel''
''Věčný návrat'' 

''Pád modly''

Final Rating

Awesome [8.5/10]

Cyclone - Inferior To None [1990]

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.

Highlights:
Crown of Thorns
Slavery
Paralysed
I Am The Plague


Final Rating
Awesome [8.5/10]

Zyklon-B - Blood Must Be Shed [1995] (EP)

It's always fun to make arbitrary guesses on what a collaboration between numerous giants would sound like if they'd ever put out a disc, though the rarity of such collaborations usually kills the inspiration to come with different combinations. What would, for instance, a concoction of Van Drunnen, Chris Reifert, Steve DiGorgio and Bob Rusay of Cannibal Corpse sound like if they ever jammed in a garage? Well, I'd kill to hear a few pieces from that combo, but what we have here is unfortunately (and fortunately) not a collaboration between these four but another quartet coming from the deep, somber woods of Norwegian black metal. Zyklon-B is probably one of the heavy metal projects with the shortest lifespan to date, with their main material centered around this 10 minute mini-disc that reeks of nothing but delirious, haunting and spectral black metal of the rawest sort, straight out of Norway when the genre was at its pinnacle, and what's more is that this isn't merely a handful of songs recorded by a group of angry teens that decided to pay a homage to their co-existing countrymen by putting on a load of corpse paint and by picking up a few battered guitars; what's utterly stimulating about the brief ''Blood Must be Shed'' EP is that it was written, and performed by some of Norway's leading tyrants of profanity: Ihsahn, Samoth, Frost, Draug Aldrahn.

The quartet, or better known collectively as Zyklon-B, are nothing short of frenetic here, with their musical profundity for pure, Scandinavian black metal displayed with stark vigor and fervor, and the sheer straightforwardness of this EP makes it not only one of the most dissolute, uncontaminated specimens the genre has in store for us, to this day. Don't get me wrong, this was actually nothing too special, even for 1995 standards, when all the giants of the scene were releasing their magnum opuses and newer, more emergent acts were just throwing in new sounds and perspectives to the genre's freshly carved out trajectory, and the four titans of this EP were nothing if not opposed to being eccentric, but ''Blood Must Be Shed'' is simply caustic, nullifying fun. There actually few black metal bands at the time that were this to-the-point with their riffing patterns and progressions, because even the bluntest of bands had something fairly different buried withing their music, so this may be one of the few releases that had a major impact of the late coming Canadian extremists Revenge and Conqueror. So bloodied are the guitars are production qualities that Zyklon-B would probably sound like your run-off-the-mill Revenge duplicate if it wasn't for the atmospheric qualities of traditional Norwegian black metal.

That's right, even though ''Blood Must Be Shed'' sounds like a cheap interpretation of war metal, it is in fact not. There's plenty of atmosphere and aura that adheres throughout the barely sufficient 10 minutes that we are presented with, and what I love about this is that most of the atmospheric tenets are enlivened by Ihsahn's unsurpassed dominion of synthesizes. He sounds just as prominent as in Emperor's flawless debut offering, though perhaps with less frequent implementation. Samoth, who roams the guitar riffs, is masterful in conveying the Norwegian sounds, having played in Gorgoroth, Emperor and Satyricon among others, Frost's drumming is also tasty; perhaps nothing out of the ordinary but will vicious, fast, and convincingly sharp, and Aldrahn of Dodheimsgard has a the inflection of a punk-induced madman screaming his lungs out as if he were upfront of Mayhem's ''Deathcrush''. The riffs are, as told, intense, like a virile bombard of razors just as deadly as the rest of the music; which is utterly relentless, unbridled. The depictions of warfare and atomic annihilation are a somewhat novel theme in black metal (at least in 1995), and I did enjoy the small helping of sound tracks, like in ''Mental Orgasm''; a brief nuclear explosion concluding the track and then rushing onto the next, and then to the rampart finale, ''Warfare'', which ends likewise as ''Mental Orgasm''.

The crappy addendum of ''Blood Must Be Shed'', ''Total Warfare'', which stretches the original length of the recording by nearly 6 minutes is utterly repelling, a completely useless remix of ''Warfare'' with additional sound effects and samples that I still find irrelevant. Nevertheless, if you get the original copy and not the 2004 reissue, the you'll succeed in refraining from it. Thanks to this rather random collaboration, we get a taste of what some sparsely scattered Norwegian black metal musicians can conjure if they ever left their bedpost. ''Blood Must Be Shed'' explores nothing, except perhaps the most destructive, ravenous facets of black metal, imbued with the raggedly interesting theme of nuclear warfare, and in its carnivorous fit of rage, listeners are likely to feel just as enraged as the band members while they were recording. In all, even when the entirety of its components are taken into consideration, ''Blood Must Be Shed'' is not willing to be more than an acidic mini black metal album, hardly deviating from the norm, but, if truth be told, I don't think any of the band members were aiming for something with spectacular grandeur. It's absolute belligerent fun that doesn't hide its true colors.

Highlights
''Warfare''
''Bloodsoil''

Final Rating
Awesome [7.8/10]

Traitors Gate - The Devil Takes The High Road [1985] (EP)

It's truly a shame how hundreds of obscurities were buried and lost during the clamorous days of early power/heavy metal (1983-1988) simply because they didn't have sufficient outings to burgeon into bigger, more commercially successful groups. For the collector of rarities, however, scrutinizing this particular era in search as such exemplary specimens like the one I have at my hand, must be a wonderful prospect; and, given the time and effort I've spent to randomly exhume this EP among a heap of other, less interesting gems, it truly is. The name Traitors Gate will probably be a novelty for many readers who are reading this review, and admittedly, they were not known to me until a couple of weeks. The band's discography is painfully short: two demos followed by their sole EP and final release, ''The Devil Takes The High Road'', but I need not say that their finest offering is magnificent, good enough to top most of its primordial contemporaries.

Traitors Gate toys with that flamboyantly oblique niche in between classic NWOBHM and sturdy USPM ambition that makes for the tool of old school escapism. Granted, the riffs are nothing superior or utterly convincing in their delivery, but the overall ambiance and aesthetic preferences weave a sort of resplendent aura, and the production is quite clear too, if not perfect. For such a short EP, the three tracks presented showed an outstanding amount of variation, constantly channeling between vibrant melody lines that plod on somewhat mournful ground, bouncing off the edges of contours of the rhythms, which sway fluidly but with a crispy speed metal attachment. As you may expect, the riff-work is composed simply, but shift in accordance with the song structures with such fluent finesse that you don't give as much as a damn about the sheer simplicity of the patterns. Hugh Jones' vocals are high-pitched at all times and resonate with a wondrously balanced level of reverb - he has the potential to shriek his lungs out with a banshee-induced inflection, but he prefers to put less emphasis on harsh vocal deliveries and focuses on a much more NWOBHM-oriented timbre. Still, this doesn't hinder the quality of the EP, as his somewhat romantic vocal embrace has a terrific tinge to the ear on the chorus of ''Love After Midnight'', which sounds a lot like ''Wasting Love'' by Iron Maiden.

The title track sets the stage from the start, commencing with moody, mid-paced intro and then converting itself into a hooking verse riff, and truth be told, the lyrics are quite memorable:

I see a gleam in your eye,
the time is fast approaching.
You say you're flying high.
Already hit the headlines,
as they pump out the news,
of a new Enchanter,
as The Devil takes the high road,
he calls the passers by.

Come with me and we'll go,
faster, higher than any star.
Come with me and we'll go,
faster, higher than any star.

''Shoot To Kill'', as the name suggests, dives into a more aggressive territory, with sumptuously crunchy guitar tones and classic NWOBHM chugs, swerving with simple but immaculate authenticity. Among all the NWOBHM/USPM obscurities I've discovered over the past few weeks, who would have know that this, perhaps the obscurest one of them all, would have appealed to me the most? ''The Devil Takes The High Road'' is no novelty for connoisseurs of NWOBHM or USPM, but it's certainly one worth a collector's time - my only gripe was that the brevity of the EP (some 10 minutes) forced me to listen to it intermittently until I had fully satisfied myself. Otherwise, from the hellish creature riding on horseback, to the catchy lyrics, this is a jumpy, even elegant discourse in NWOBHM and USPM 101 which you shouldn't miss out on.

Highlights

''The Devil Takes The High Road''

''Love After Midnight''

''Shoot To Kill''

Final Rating

Awesome [8.3/10]

Terrahsphere - Third In Order Of The Sun [1991]

Though the 90's obviously did not provide with a wealth of thrash that was half as prolific or good as the 80's, emergent acts that culminated during 1990-1993 no doubt have a colorful, even mercurial appeal that I sometimes find to be superior to those of their more olden counterparts. I'm not claiming that New Hampshire thrashers Terrahsphere were bringing a slab of utmost distinction to the table, but they were certainly an enlightening band to come across during the years which thrash was slowly being torn asunder. Terrahsphere's sole album ''Third In Order Of The Sun'' was conducted by the underground entrepreneurs New Renaissance Records, which previously released an abundance of excellent underground obscurities from Soothsayer, Amulance, At War, Blood Feast and Dream Death to name a few; and I believe they found their perfect fit with Terrahsphere, a bristling, busy quartet of madhouse fugitives who don't shy from exposing their sympathy for science-fiction. Well, almost perfect.

You could really assert that the group is drawing influences from a number of suspects: early Toxik, Realm, Megadeth, Norwegian obscures Equinox, Sacrifice, and so forth, but to me they seem like an almost direct translation of Invocator's clinical, surging debut, only stripped up of some of the punch that really rendered the debut so hostile and raucous. Ah yes, the punch. Probably the sole thing that made me malcontent, but thankfully, the band deploys such a myriad of carnal, technical speed/thrash interpretations that it becomes nearly impossible not to succumb to the brisk, curving bevy of sci-fi induced grapple hooks, which take numerous forms of hostility over the coarse of the record, and what's more is that Terrahsphere have a manic vocalist behind all the superfluous machine-gun fire of acute tech-thrash spurts, a frenzied madman whose rupturing vocal cords gyrate between Flemming Ronsdorf of Artillery in his more rowdy days, Jacob Hansen of Invocator and Voivod's Snake. So whether it be the robotic tapping riffs of the opener, the Voivod-like chord progressions of ''Scioreality'' or the finalizing, frivolous leads of ''What Was And Will Be Again'', you've got yourself a genuine futuristic minefield, and every moment is explosive.

The single flare of the opener, ''Re-Emergence Of Atlantis'' is enough to inform the the listener that he/she has just stepped into the chamber of the sovereign of demented pandemonium, but bear in mind that Terrahsphere is not completely about razing, guitars and frenetic vocal output. Terrahsphere set the incomplete fundamentals of a sub-genre that could not reach large heights and would have otherwise boomed into something even more exciting. Sure, technical thrash metal with just faster tendencies is hardly a novel, even for the people of 1991, since Watchtower, Toxik, Deathrow, Hexenhaus and Mekong Delta dropped their pioneering works in previous years, but with the extra aid of fluttering craze behind technically adept guitars something truly attractive could have been born, but the number of bands worshiping the aforementioned acts are low today, so a tiny kindle in the lesser parts of the underground seems to have almost no impact at all.

And perhaps the blossom of such a sound would have occurred in future years by its creators, but unfortunately, Terrahsphere did not live long enough to shed more light on their aesthetics. ''Third In Order Of The Sun'' has its flaws, no doubt, mostly that it lacked the meat it needed to pack a proper punch and because, despite the proficiency of the guitar work, it's still somewhat held aback, a merely combustive fragment of the albums it vaguely tries to exemplify, but through a voluptuous, though not brutal vortex of cavorting intricacies, bound to each other by cajoling elements extracted from outer space, it makes for a highly vibrant and enjoyable listen, and a reasonably good achievement considering the year it was released. Fluent debut which is second in order of the tech-thrash constraint, bested only by the initiating masters of the sub-genre.

Highlights
''Scioreality''
''New Clear Day'''
''Re-Emergence Of Atlantis''
''Inheritance''

Final Rating
Awesome [8.2/10]

Baphomet - The Dead Shall Inherit [1992]

Every time there's a new morbid bludgeon going on in the current death metal underground, the origin of the that cadaverous formula is tightly bind to your typical Floridian suspects of brutality; Massacre, Morbid Angel to a certain extent, Deicide, and perhaps even some South American intensity thrown in. Though, I regret to admit that the current trends have taken reiteration to a point where it's almost a necessity, and while doing so, many overlooked gems are ignored or neglected. Borne of the crude and ghoulish cemetery grime and made of rotten flesh and bile, Baphomet is what you'd probably call ''a grotesquery of the genre'', which, at least circa 1989-1993, was considered  to be very true. Huddled in gore, filth and malignancy, Baphomet's ''The Dead Shall Inherit'' is a crudely underrated treasure to be found in the deepest, putrid trenches of the burial ground.

''The Dead Shall Inherit'' was probably overly brutal for even acknowledged mavens of old school Floridian brutality that I've mentioned, who brought the genre to a point of lush and wealthy, mainstream finesse. There's always some good in reconsidering the roots of one's masterful aesthetics that have been divided by dichotomy over years of development and sophistication. Baphomet still today sounds utterly regurgitating and macabre, weighing immense, muscular riffage upon heaps of carnality, forming an oblique hybrid of death and thrash fashioned in such a way that you'd get the feeling the composers were gushing out frantically in violent surge of adrenalin while shattering bones and flaying a marauded cadaver. It's possible that the band was trying to take the gurgling, decomposed ebullition of the roaming kings of gore and brutality at the time, so there are obvious differences; instead of keeping the listener distorted with clinical technical death metal showers, ''The Dead Shall Inherit'' weighs on pressure, excluding the busying, and fluttering their gory momentum with masterfully crafted implements of sordid, ruthless simplicity and sending the listener's pulverized skeletal complex into mire of blood. This is music that neanderthals would've simply adored.

Of course, all these primal incursions come with a cost. Any sort of mood, embellishment and technical diversity is left to rot, omitted. Therefore, in the sense that the band's only implements are pummeling grooves and upright beats, you could say they were pretty ''non-bullshit'', but then again they would probably tell you the same thing. In addition to the hammering rhythmic department, Baphomet had sodden bass lines that really quivered and enlightened the discharge of the guitars as to decompose them even further. Like on ''Valley Of The Dead'', on the legendary intro riff, the bassist literally exposes all the stomach-churning contents of his body while this four strings bob to attain undeniable headbanging pleasure. Tom Frost's vocal timbre is also a shaking feature and oblique like the guitar work; I can't quite relate it directly to any well-known guttural vocalist. Consistent and punishing like a shower of meaty bricks falling upon unprotected heads, ''The Dead Shall Inherit'' will leave the typical OSDM freak sweltering, and should be the weapon of choice for anyone looking for his/her USDM fix. Feel free to abolish you neck, but make sure your next appointment with the doctor doesn't involve any ugly, violent music being blasted out. The consequences will be vital.

Highlights:
''Valley Of The Dead''
''Streaks Of Blood''
''Vile Reminiscence''

Final Rating:
Awesome [8.2/10]

Gammacide - Victims Of Science [1989]

Although at the time there was Devastation, who delivered their smoldering masterpiece two years later, Gammacide were ultimately the most spastic, ballistic thrash metal act coming from Lone Star State. This would, unfortunately be the the sole full-length release by the band, but during the uttermost pinnacle for thrash Gammacide ruptures an absolutely tremendous cataclysmic boulder-shower of brickwall riffs and immense nuclear bombardments hailing in an all-out pernicious atomic explosion, and so infectiously captivating are their riffs that it was literally impossible to shelter from the brick rain that never seemed to cease; the band's shtick was thundering with ridiculous abominations of ferocity and and riveting attention with their meticulous obscenity.

The very first time I encountered this frenzy, I was perplexed, to say the least. Gammacide could have easily reigned over the parched wastelands of Texas with such a stomping precision, but such a fate was never written in the cards. But ignoring their future misfortune, ''Victims Of Science'' is the gathering of the most violent thrash that was available up to that point, a shrewd aversion against society's imprudent actions against the environment, and pure, unbridled anger, absolutely pulsing through the gamma-radiated veins of the band members. Gammacide delivered so many riffs in single three-minute tracks that they could even be considered omnipotent riff deities, and there's also Vernam Ponville's Sean Killian-esque approach that boasted of relentless fury, and spasmodic leads drilling into the listener's subconscious like some mutated laser - these were all the surgical twists they could pull off, and who knows, they might have even fabricated more and even catchier material if they had lived through the massacre of thrash during the mid-late 90's.

''Victims Of Science'' can well be considered as one of the most neck-wrecking extremities that was prevalent in those days, and it's absolutely straight up ferocity at its finest, most purest. I even consider counting the band's later demo material as an inimical piece of this puzzle, and hell, even if you can't show relative enthusiasm against this distorted nuclear bombast, I'm assuming many will still give into its lyrics:

In the race to win priorities lost
Victory assured at what cost?
Defense network spread far and wide
Works off human sacrifice
Radiation that leaves us dead
Won't harm circuits encased in lead
Countries of the world are robbed of life
Battles are waged by satellites

Machines are given full reign
Electronic soldiers feel no pain
If they win who's to gain?
Your fate is sealed by emotionless steel

For the typical, banging thrasher there's not a single fail in this album. Even a more reluctant listener might as well be content with a dozen of listens to bear and behold this imposing ferocity and the ludicrous ingredients that make if what it is. It's hardcore, it's thrash, it's sheer brutality, and no matter how overlooked it is it can still send countless numbers of its fellow competitors spinning in dazzled exhaustion and still explode with an hooking, atomic, and even cheesy discharge. 

Highlights:

Observations

Victims Of Science

Chemical Imbalance 

Endangered Species

Final Rating:

Awesome [8.7/10]

Helloween - Keeper of the Seven Keys Part I [1987]

Here we have an album that many consider to be one of the most influential Euro-power metal albums of all time, and that wouldn't be an inaccurate statement, only it was influential for a sound that I couldn't care less for. Helloween showed that they were a legit band capable of delivering doses of brilliance in their music when they released the masterpiece "Walls of Jericho," but this album is just... different. For one, "Keeper of the Seven Keys Part I" sees the introduction of Michael Kiske on vocals, and while I have nothing against the man, it's a shame that Hansen could no longer pulled double duty on guitar and as the frontman, because his unpolished and enthusiastic approach to fronting the band was a joy to hear on the debut EP and full-length. Kiske's vocals are on their own outstanding, but they suit a watered down version of Helloween a lot better, and that's really what the band is on their sophomore - watered down. 

It may sound like I'm bashing "Keeper of the Seven Keys Part I," but I do enjoy the album, it's not what I was expecting to hear after listening to the much more raw debut, a bonafide classic, and while this record is considered a classic, it just doesn't live up to expectations. For the most part, the kickass speed-oriented riffs that Kai Hansen and Michael Weikath mass-produced before are gone; replaced by more midpaced riffage akin to groups like Priest and Maiden, which isn't a bad thing, but it doesn't spark the same feeling that amazing songs like "Ride the Sky" and "Victims of Fate" had. It's not all bad, though, as songs like "I'm Alive" and "A Little Time" are great midpaced tunes that show off Kiske's great voice, as well as the non-stop shredding from the guitarists, with the former track featuring excellent solos that are actually some of the better parts of the music at points throughout the record. This album also has one of Helloween's best songs ever in "Twilight of the Gods," an epic anthem with an insanely catchy chorus, stellar guitar playing on both ends, and Kiske's phenomenal vocal performance. 

However, I find myself needing to complain about this album again. It's very short and with only six songs of actual substance, all six of these songs needed to be overly-exceptional, but that's not the case. "A Tale That Wasn't Right" is an acoustic ballad that just falls flat and makes me want to hit the skip button, while "Future World" is another song that just fails to retain anything that could be considered awesome. I don't want to sound like some miserable cunt, but the song is just too damn happy sounding and has no real substance to it. Had these two tracks been cut from the record, "Keeper of the Seven Keys Part I" would've made a terrific EP and another Helloween release that could be considered a major "win." The basic tale of the tape for this record is one that sees the band evolve their sound (which is a natural thing for bands, and one that we as fans have no control over), but not for the better. There are still some great songs here that save it from being a total flop, with "Twilight of the Gods" and the epic closer "Halloween" being worth listening to this record again on their own. This is a band that showed a lot of promise, but unfortunately fell short and it's safe to say this is the last record where I could summon enough fucks to give about the group after they teased me with their fantastic debut. 

Highlights

"I'm Alive"

"Twilight of the Gods"

"Halloween"

Final Rating

Barely Awesome [8/10]

Helloween - Helloween [1985] (EP)

Power metal wasn't a full-blown subgenre by the time 1985 rolled around, with only a handful of bands playing the style of music that was very rooted in the vein of bands like Maiden or Angel Witch, only the music was usually faster and thrashier. Bands like Omen, Savage Grace, Jag Panzer (and the earlier incarnation of Tyrant) and Fates Warning all took their stab at paving the way for this new form of music and they released some damn fine records, but this was mostly being done in the states. Enter Helloween and their self-titled EP, a five track showcase for the young group who would later become much more important in Europe's power metal movement. The music here isn't like the band's latter material that they're more well-known for, but it doesn't shy away from the speedy onslaughts that were made awesome on records like "Battle Cry" and "Metal Church," providing plenty of quickness in the riffs and a lot of substance as well. 

This EP is the brainchild of the master himself Kai Hansen, who not only brandished the kickass riffage on "Helloween," but handled vocal duties as well. His high pitched approach isn't anything overly special or innovative, but it suits the music perfectly and any fan of traditional metal probably wouldn't be able to complain about him. The man is also an absolute beast with his ax, too. The amount of insane soloing throughout this EP (and pretty much every other Helloween release he played on for that matter) is crazy. It doesn't matter if the man is shredding away, playing solos that are as fast as the riffs, or writing more melodic leads that are meant to add some memorability to the songs, this man does not know how to write a bad solo. The rhythm section is also solid. The bass playing and drumming aren't too much of a highlight on their own, but combined with Hansen's impressive guitarwork and vocals, they don't really need to shine so much. 

The EP kicks off with "Starlight," a catchy number that features upbeat riffs, ear-catching melodies and a lot of shredding from the German extraordinaire (which is a common theme for pretty much all of the band's early material that Hansen played on). "Murderer" and "Warrior" both tread along a similar path as both feature their share of solid riffage, solos galore and more over the top vocals (sound familiar?) Of course there's a bit more variety to this EP and that couldn't be more evident than on the track "Victim of Fate" which has some stellar melodic riffs and Hansen's best vocal performance. The way he yells "You will burn in hell!" is fucking killer and reminds one of Grim Reaper's Steve Grimmett, before the equally kickass solos come in and make the track a must-listen. The final track "Cry For Freedom" is almost as excellent as the preceding song; the acoustic intro with Hansen's vocals make for a nice change of pace and show that the band is more than capable of writing more than just fast riffs and a bunch of solos. "Helloween" is definitely a great way to make some noise for a young band getting their start, and while I wouldn't call it a must-have EP for every metal fan, it's definitely worth listening to if you're a fan of the band or the power metal genre. It's just a shame that Helloween would go on to create some shite music that couldn't be any further from the early creations that made the band so awesome, but again, that's a rant for another day. 

Highlights
"Starlight"
"Victim of Fate"
"Cry For Freedom"

Final Rating
Awesome [8.7/10]

Pestilence - Malleus Maleficarum [1988]

It probably isn't even necessary to get into any kind of detailed intro for this band. Pestilence is the reason for a couple of massive things in the metal world. Firstly, this is where the death metal god Martin Van Drunen got his start before venturing off onto other amazing projects (including Asphyx, Hail of Bullets and even Bolt Thrower for a bit). The other notable deed from the Dutch masters is the release of this awesome record "Malleus Maleficarum" and the masterpiece that is "Consuming Impulse." This album is the first of what would be a varied discography for Pestilence, as none of their full-lengths sound the same. The debut is definitely the most raw release (and it could even be considered primitive if compared to the later albums) and shows this four-piece band excelling in a genre that was still at a creative peak with other top-notch thrash releases like Morbid Saint's vicious "Spectrum of Death," Coroner's dark, technical thrashterpiece "Punishment For Decadence" and Forbidden's awesome debut "Forbidden Evil." 

I mentioned that this is the band that saw the introduction of my all-time favorite death metal vocalist Martin Van Drunen. However, his vocals on "Malleus Maleficarum" are unlike his tortured growls of his latter work, as they're more suited for a violent thrash group because they're much less throaty or deep, sounding like a mix of Chuck Schuldiner and Jeff Becerra. The riffage, too, is much more thrash-oriented than the band's later albums, but it doesn't affect the quality whatsoever. The wicked riffs that are seemingly littered throughout this album could hang with just about any of the others heard on plenty 1988 releases. The rhythm section didn't really do anything overly impressive, but they did their job well and that's plenty enough to make the music here heavy and headbang-friendly. The lead guitar work is another highlight on this album as the two guitarists showed that they're not just playing brutal riffs and trying to be heavier than the every other band, but that they're capable of writing memorable songs filled with awesome melodies and solos. 

The album-opener "Malleus Maleficarum/Antropormophia" starts the record off on a darker note with a kickass buildup featuring tremolo riffage which eventually leads to some thrashy riffs from hell. "Chemo Therapy" is an absolute curbstomper of a track with its whiplash-inducing riffs and an incredibly catchy chorus. "Parricide" and "Cycle of Existence" are just further proof that Pestilence are indeed masters at riff-crafting, with terrific midpaced sections and vile tremolo bursts. There aren't any complaints that could be made about "Malleus Maleficarum," and while it may not be as good as the record that came after it is still a quality listen and an album that is very worthy of your time. Let's just add this album to the list (and it's a pretty decent size list) of brilliant releases from the Dutch, sit back and bang our heads silly to some of the finest death/thrash to be bestowed upon the metal masses. 

Highlights
"Parracide"
"Chemo Therapy"
"Cycle of Existence"

Final Rating
Awesome [8.7/10] 

Asphyx – Embrace the Death [Recorded: 1990. Released: 1996]

“Embrace the Death” is Asphyx’s true debut album. Although it didn’t see the light of day until 1996 (Thus making it their 4^th released album), the songs were actually written in 1988/89 and the album was recorded in 1990. Due to a dodgy label boss pulling a runner with all the recording money, this brilliant album was lost to the void for a few years. Unfortunate, as this is one of their best releases.

One peculiar thing you may notice upon hearing this record is that some of the songs have been released on other Asphyx albums in rearranged and rerecorded forms; some times appearing under a different title. Most of these mentioned tracks are presented in a more primitive and raw form here.

The main thing that I like about “Embrace the Death” is that it showcases Asphyx at their most evil, unpolished and obscure sounding. The rough and unprofessional production job makes it sound more like a demo than a full length, which only adds to the dark and heavy feeling.

Most of the songs tend to stick to a slow-to-mid pace, really focusing on the doomier aspects of the Asphyx signature sound. Sadly, this and “God Cries” are the only two Asphyx albums that featured the vocal and bass talents of Theo Loomans (R.I.P.), a man who brought a very rough and brutal edge to the band. His vocal style didn’t differ too much from Van Drunan, but his input helped to embrace the more barbaric side of Apshyx, which sets “Embrace the Death” apart from the rest of their catalog.

“Embrace the Death” is a forgotten classic and an essential part of any Asphyx collection. Or any old-school death metal collection, really.

Highlights: 

Embrace the Death

The Sickened Dwell

Crush the Cenotaph

Final Rating: Awesome [8/10]

Funebre - Cranial Torment [2012] (Compilation)

Man, I really love these compilations. Reissuing underrated albums for more exposure one thing, amassing extremely overlooked demos and EPs into single packages for gruesome, carnal delivery another. Xtreem Music has now gathered all the pre-1991 material of the Finnish cults Funebre in one case, and now, listeners can enjoy the ''Cranial Torment'', ''Demo II'' demos and the ''Brainspoon'' EP the same way they enjoyed the bands vile splash of vile that was ''Children Of The Scorn'', and what's more is that you can feel the rawness and sheer decomposed splendor of these ghastly tunes the way they were taken out of the oven, fresh but rotten, oldie but goodie.

As I said, the authentic production quality helps reinforce the notably primal disorder the album espouses, and you've got vitriolic churning of traditional decayed Finnish death metal in its most macabre and aggravated form, sticking to the path that Convulse or Purtenance took, with a heavy blend of charnel Swedish chainsaw insanity, the same way Nihilist did it in the late 80's. The amalgamation is, of course, nothing new if you've already witnessed the band's excellent full-length, but I've always considered contemplating certain band's primordial exhalations in order to compare it to their somewhat more polished released. In death metal, old school death metal, I have a strict little rule; the more crude and primitive the band gets, the closer it gets to perfection through dissonance and putrefaction. Funebre are easily one of the dominating Finnish death metal acts roaming around 1993-1988, and this temple of embryonic pain is the evidence, clearly.

Thanks to Funebre's slightly original tendencies, we can feel skull-crushing buzz-saw pressure at the same time as somnolent death/doom drudgery. Tracks vary, because the mix does not equalize them all into one single production quality, so songs from differing releases stand out with marginal qualities, and out of them all, my favorite would probably the ''Demo II'' material, which, obviously manifests the darkest and roughest peak of the band's adoration for esoteric and ephemeral horror, sending a barrage of chills down your spine as the ripping chainsaw fluctuates into a grisly slither of flesh and bones. Funebre are one of the best bands to come of the Finnish death metal scene, as already evidenced on their debut, but for furthermore proof of their crude agility, get this compilation and feed yourself all its disemboweled contents. 

Highlights

''Expunging Mortalities''

''Grip Of Insanity''

''Leprophiliac''

Final Rating

Awesome [8.4/10]

Manilla Road - Out of the Abyss [1988]

If someone were to listen to Manilla Road's pre-2000 output, they would more than likely notice that there was a constant changing in the band's sound, yet Shelton always retained a signature style that immediately let the listener know that they were in for a Manilla Road album. This listener might also notice that the changes in sounds came in pairs. The first two records clung to a proto-metal sound, while "Crystal Logic" and "Open the Gates" would go on to become masterpieces of the heavy metal genre, and the latter two albums "The Deluge" and "Mystification" would inject a healthy amount of thrash into the epic sound. Enter the band's seventh studio album and once again, there is an obvious shift in sound. "Out of the Abyss" is easily the darkest output for the band to date, conjuring up wicked sounds similar to groups like Iron Cross, Satan's Host, Metal Church, etc. 

There are a couple of reasons why "Out of the Abyss" has a much darker edge to the sound, but the main reason is once again, the absolute genius of Mark Shelton. Whether he's using sinister sounding and mysterious clean guitar sections ("Return of the Old Ones") or a much more insane vocal style with gruesome lyrics ("Whitechapel"), the music is undoubtedly more evil than it's been before. It would be a stretch to say that the Shark's vocals improved, but they definitely take on different forms throughout these nine tracks. The man sounds fucking deranged on the opener "Whitechapel" as his vocals perfectly convey the insanity of the man who the song is about (Jack the Ripper). "Rites of Blood" is another track that follows the precedent set by the album-opener, as the palm-muted riffs, catchy basslines and vocals all contribute to a more diabolical sound. Songs like "Black Cauldron" and "Midnight Meat Train" have a similar thrashing vibe to them that songs on the previous records have, and it wouldn't be much of a shock to see fans of tunes like "Masque of Red Death" and "Divine Victim" thoroughly enjoy these tracks. 

Of course, Manilla Road is a heavy metal band, and what kind of album would "Out of the Abyss" be without some epic songs that hearken back to the days of "Dreams of Eschaton" and "The Ninth Wave?" "War in Heaven" features the familiar clean guitar passages that serve as the perfect backdrop for Shelton's vocals that sing of battles between deities, before the song eventually turns into a distortion-laden one filled with incredible solos and faster riffs. The album closer "Helicon" is a stellar track to say the least, and one of my all-time favorite Manilla Road songs. Mark has one of his best vocal performances on this song, and every other part of the music followed suit to deliver a heavy metal classic. While I don't enjoy "Out of the Abyss" as much as the few albums before it, this record is still an enjoyable listen with some decent to amazing songs, that would only add to the band's legacy as one of America's premier metal bands. 

Highlights

"Whitechapel"

"War in Heaven"

"Helicon"

Final Rating

Awesome [8.5/10]

Snyper - Obituary [1988] (Demo)

For a demo being released in the same year as the previous and somewhat immature installment ''Manifestations'', UK hit n' run thrashers certainly stepped up their game up by a good pace. Not only does Snyper ameliorate the material on the previous demo to form a robuster demo, but ''Obituary'' also stands out with its dexterous approach, its leaps and frivolous excursions, all building up into a single fifteen minute demo of three songs - possibly the best the UK thrashers will ever conjure. Seriously, you can never go wrong with such vigorous splashes in the face like this, and with a itsee bitsee bit of experimentation, Snyper are in the top of their game.

The ''experimentation'' I'm talking about here is lucidly not any major change in the bands style, and in fact, it would be wrong to actually call it an experimentation, but the thing is, on ''Obituary'', Snyper adorn the bloodthirsty thrash craze with fragments of queer twists, which, probably belongs to the same kind of ecstatic  diversity on the previous demo, only more embraced. First off, there demo has a far crisper and cleaner production than ''Manifestations'', and second, with the improved clarity and crunch, the riffs sound better executed, not to mention better penned. The band has obviously grown fonder of tremolos and brusque plods of melody entwining with carnal, raw chops and speed/thrash ruptures, and they utilize these blithe melodies to congeal with the tremolos, forming a solid hooking line of strident narrating riffs.

The vocals have stayed pretty much the same, which is something that I'm very glad about; they're still ghastly and throaty, the way I like it. This time, however, the importance of the vocals have increased. With the band sticking to the primal hostility that they had fancied quite a bit on the previous demo, the vocals become an essential part of the savagery department, emanating the raw insanity throughout the veins of the riff patterns and ultimately, pervading the primal energy. You're bound to have boisterous headbanging time whilst you listen to this, and moreover, this demo deserves accolades for having such a primitive and brisk feel to it, quite literally topping a good number of its fellow peers and countrymen during that time. My only complaint was that it was far too brief, as with all the band's demos, to fully enjoy, but hell, I still like it a lot.

Highlights
Sacred Blade
Deathright At Sunset

Final Rating
Awesome [8.3/10]

Manilla Road - Mystification [1987]

Talk about being productive. Mark Shelton and the rest of his musical entourage continued to hammer out one awesome album after another, year after year. After releasing another terrific release in "The Deluge," it would come time to hit the grind once again, and the result was Manilla Road's six full-length "Mystification," an epic record that carried on where the previous full-length left off. To be honest, there isn't much of a difference as far as the overall sound is concerned between this album and "The Deluge," as both boast thrashy riffs that make the bulk of the rhythms which serve as the ideal backdrop for Shelton's constantly improving vocals and every fantasy-riddle theme that he could conjure up. 

Once the first song bursts through the speakers (or whatever you use to listen to your music) there's a huge sense of deja vu, as "Haunted Palace" kicks off with basic chords and intense drumming that reminds one of the opening song from "The Deluge," "Dementia" which has an almost exact same sound. The similarities do not stop there, though, as "Spirits of the Dead" blends clean passages and thrashy riffs perfectly to create a very memorable song (Something that this band doesn't lack whatsoever). The title track is another stellar song that takes the listener on a fun ride that starts with the oh-so familiar clean guitar passage and Shelton's instantly recognizable, nasally vocals that are very pleasant sounding on the ears, before it escalates into some thrashier riffs and solos galore. "Valley of Unrest," "Masque of Red Death," and "Death By the Hammer" are all songs that could easily be described as thrash songs, but of course with the signature Manilla Road flavor, which makes the songs much more multi-dimensional as opposed to just another thrashy song. 

To keep things simple, this album is almost "The Deluge" part II with different lyrical themes and different riffs, but the same spirit and structuring are present. I don't mean this in a negative way, because these guys could have kept releasing material that was just a re-hash of what they did before and I probably would still love it. But all of these songs are worth listening to, and some of them I would consider Manilla Road classics. If you're a fan of "The Deluge," or any of the band's earlier metal records, then "Mystification" is a record that should find no problem joining your collection, as this is epic thrashing metal in top form. 

Highlights

"Spirits of the Dead"

"Mystification"

"Masque of Red Death"

Final Rating

Awesome [8.7/10]

Burial – Relinquished Souls [1993]

Burial is an obscure Dutch death metal band that formed in ’91 and proceeded to release one demo and one album then, due to issues with their drummer, disbanded in 1993. Apparently the band was resurrected a few years ago.

Burial were very obviously influenced by the early works of two specific American death metal bands: Massacre and Death. There is no denying that this whole album reeks of fanatic worship of these two legendary Floridian acts. So, given that most of you will be familiar with these two bands, you should already have a good idea what to expect; technical yet powerful and catchy headbanging riffs, precise drumming, fast, thrashing tempos, complex song structures and aggressive vocals that could give Kam Lee a run for his money.

After hearing the killer opening track “The Second Coming”, the listener instantly knows what they’re in for and it’s one hell of a bloody ride! Along with the previously mentioned Massacre and Death influence, you’ll also find fleshripping thrashing moments that bring to mind old-school “brutal” thrash bands such as Demolition Hammer and Morbid Saint, which should definitely keep the average old-schooler entertained!

The real highlight of “Relinquished Souls” lies in the guitar playing. The riffs are complex but still catchy and nearly every song has multiple solos. The bass, drums and vocals are all great but the two guitarists really on a whole other level. It really is a shame that this band only released one demo and album before fading into obscurity, as I would love to know how they would have progressed over time.

Highlights:

"Traumatized"

"Abhorence Within"

"Frigid Cold"

Final Rating: Awesome [8.5/10]

If you’re a fan of old-school early 90’s death metal, I would highly recommend picking up the reissue of this album through Memento Mori Records.

Manilla Road - The Deluge [1986]

There was a clear evolution in Manilla Road's sound that was first evidenced when their masterpiece "Crystal Logic" hit the metal underground, and they would follow it up with an equally amazing record in "Open the Gates," and only a year later they would release their fifth full-length in "The Deluge." Much like the albums that preceded this record, there was still an ongoing evolution to the band's sound and if you recognize the year this record was released then it should come to no surprise that "The Deluge" embraced the rapidly rising aesthetics of the thrash subgenre to essentially deliver an awesome album that carried on the epic style from its predecessors while injecting a sizable dose of thrashy goodness, without forsaking any of the tenets of what made Manilla Road's earlier output so damn good. It would definitely be a stretch to consider this material thrash, but more along the lines of what the early US power metal bands (Omen, Jag Panzer, Attacker, etc) were doing, incorporating fantasy-themed lyrics with faster and heavier riffs than typical heavy metal bands. 

Much like "Open the Gates," Randy "Thrasher" Foxe lived up to his nickname again on "The Deluge." The opening track "Dementia" immediately showcases the man's intense and sporadic drumming which contributed greatly to Manilla Road's faster and heavier sound. Shelton also took pleasure in kicking the tempo up a notch, delivering thrashy riff after riff. One of the band's most memorable songs "Divine Victim" has upbeat riffs that are incredibly catchy, almost reminiscent of thrash acts like Anthrax or (early) Overkill, not to mention one of Shelton's best solos (and this man has a lot of 'em). "Taken By Storm" doesn't have any complicated structures or span 7-8 minutes, but its the perfect example of what Manilla Road accomplished with this album; it consists of mainly midpaced to fast riffs, yet it still retains the epic vibe that songs like "Witches Brew" or "Crystal Logic" had. "Hammer of the Witches" also proves to be one of Shelton's heaviest tunes yet, featuring crushing riffs and a stellar chorus that shouts "Burn them all!" in his signature voice, which proves to be just as strong as ever, even showing slight improvements from "Open the Gates."

And how could there be a Manilla Road album without a ton of solos and clean interludes? "Shadows in the Black" features Shelton's more soothing vocal stylings over the clean guitar before it eventually turns into another thrashy onslaught, while "Isle of the Dead" uses the clean guitar tone for a more sinister atmosphere that conveys the title of the track tremendously. Then there's the brilliant title track that lives up to the epic songs that came before it, as Shelton conjured up some jaw-dropping solos, magnificent vocals and plenty of memorable riffs that were executed flawlessly. The album closer "Rest in Pieces" is a wicked shredding piece that only furthers Shelton's legacy as a god with the guitar. While "The Deluge" is a notch or two below "Crystal Logic" and "Open the Gates," its still an incredible record worth the time of any Manilla Road fan, and it ranks up there with some of the best metal records released in 1986. 

Highlights

"Divine Victim"

"Hammer of the Witches"

"The Deluge"

Final Rating

Damn Close To A Masterpiece [8.9/10]

Manilla Road - Invasion [1980]

This is the album that started what was to become an incredible catalog of epic metal at its absolute finest, and it wasn't even a heavy metal album. Still, "Invasion," is well worth the time for fans of Manilla Road's other work, as there are plenty of seedlings for what Mark Shelton and (various different) company would later produce in their career. The six tracks on this record could all be considered proto-metal, as the music isn't too different from what bands like Heavy Load, Legend, Rainbow, etc were doing in the late '70s and early '80s, taking the rock n' roll attitude (and some riffs) as well and blending them with a heavier kind of sound. There are also some bits and pieces taken from the psychedelic bands of the time that could be plucked out of certain parts of the songs, but not enough to consider Manilla Road a psychedelic, flower-power band, because these guys were creating music about war games and mighty empires with songs that featured long, intricate compositions and an epic feel that would stick with the band for decades. 

Aside from the ballad "Centurian War Games," the songs on "Invasion" clock in from five minutes up to thirteen minutes, leaving plenty of room for the Kansas metalheads to leave an impression. There are familiar aspects in just about all of the songs in that they feature Shelton's unique vocal stylings, scores of solos, rockin' riffs and plenty of catchy moments to keep the listener enthralled. The thirteen minute opus "The Empire" is an essential listen for fans of Manilla Road or the epic style in general, as this track set the bar for the longer and more grand style of songs that the band would create later on. Mark Shelton's ability to craft music that flows together perfectly is displayed throughout the album, from the opening "The Dream Goes On," which blends traditional galloping riffage with vibrant rock n' roll styled hooks, to the aforementioned album closer that shifts effortlessly between soothing clean guitars and distorted, uptempo riffs. "Cat and Mouse" is an absolute solo-fest that has probably had many old-timers whipping out their air-guitars, while "Street Jammer" is a fun tune more along the rock n' roll side as evidenced by the riffs. 

"Invasion" is not the defining album for the prolific Manilla Road, but it was a great starting point for the band and their ever-evolving sound. Having the convenience of being able to listen to this group's latter music and then being able to come back to this record has allowed me to appreciate this one a bit more, because the overall sound of the music is obviously different, but the spirit of the music and the same fantasy-riddled atmosphere is present, having never left the fold from song after song and album after album. This album may not be one that strikes the listener upon the first listen simply because of how different the music is and it isn't necessarily "metal," but after giving it a few spins and letting the music digest, I would find it hard to believe that fans of "Crystal Logic" or "Open the Gates" cannot appreciate this record. 

Highlights
"Far Side of the Sun"
"Street Jammer"
"The Empire"

Final Rating
Awesome [8.4/10]

Abhorer - Upheaval of Blasphemy [1993] (EP)

A few years after releasing their demo “Rumpus of the Undead,” Abhorer would put out another release, the two-song EP “Upheaval of Blasphemy.” This new collection of material definitely showed the band’s improvement, as the two songs here are more memorable than the previous unholy tunes and they shaped the sound that the band would perfect on their full-length a few years later.  

Unlike “Rumpus of the Undead,” the production on this release is a lot better. Every riff, growl and percussion assault can be heard and distinguished perfectly on these two tracks, as the music is mixed terrifically. Abhorer also provided more variety on this EP (ironic given that there’s less material) as the riffs aren’t just non-stop tremolos. “Abandonment of Chastity” is a solid mix of the tremolo bursts and kickass midpaced riffs that are sure to thrash the listener’s neck. “Heathendom Incarnate” is a fantastic track that alternates between the two different styles of riffs, while weaving in some heavy vocals and violent drumming, creating a highly memorable song and one of the best tracks in the band’s arsenal. Overall, if you’re a fan of the previous demo, then welcoming “Upheaval of Blasphemy” into your collection should be no problem, because this is black thrashing death that is simply awesome. 

Highlights

“Abandonment of Chastity”

“Heathendom Incarnate”

Final Rating

Awesome [8.5/10]

Abhorer - Rumpus of the Undead [1989] (Demo)

Before all of the bombastic song titles and before the full-length, Abhorer got started way back in 1989 with their debut demo “Rumpus of the Undead.” The most extreme music around then were bands like Autopsy, Bathory, Bolt Thrower, Morbid Angel and Celtic Frost among others, but the four songs (not counting the intro) here are quite savage themselves, much moreso than the aforementioned bands who were the giants of the time. A lot of people may have not been prepared for the raw and sloppy music that coursed through this demo, because this music is absolutely filthy. The riffs, production, vocals and everything else just reeks of old-school. 

The first thing that anyone will immediately notice after the intro track clears is the muddled production. The quality of the production on this demo is shitty to say the least, but it adds to the overall feel of the songs quite nicely. The Celtic Frost/Slaughter guitar tone is murky and it makes the opening power chords of “Repudiated Faith” sound really dark. Throw in some whammy bar madness and incomprehensible growls, and you have the vile sound that Abhorer created. The majority of the riffs on “Rumpus of the Undead” are tremolo bursts and some occasional power chords, but there isn’t much variation in the riffs. Still, tracks like the title track and “Profane Immolation” crush as they engulf the listener in a shroud of evil, while they're simultaneously being pummeled by the rapid-fire percussion and insane growls. This Singaporean quartet definitely made an impact of sorts with this demo, but they would also go on to create much better music and leave an ugly and profound mark on the metal underground in Asia, and the world for that matter. 

Highlights

“Repudiated Faith”

“Rumpus of the Undead”

“Profane Immolation”

Final Rating

Awesome [8.2/10]