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]

Savage Death - Crucified After The Genocide [2010] (Compilation)

Perhaps one of the most staggering and resonating sojourns into the mid 80's reservoir of extremity can be attained best through the unearthing of classic demos that no doubt had their impact on the local scene, but where later on deterred and trampled into submission with the rising of stronger, to be mainstream acts, but I still feel such obscurities stuck in amid the very ooze of time bear the essence of the true energy of their period. Really, any underrated demo could have served the purpose here, but in this case I've chosen one of my underground favorites, Savage Death. While band's body work is short; only two demos ranging at about 35 minutes, F.O.A.D Records has blissfully uprooted the band from their subterranean prison and has brought the two works of savagery to disposal, all the better for collectors of unveiled antiquities.

And delving into the demos, you'll find that Savage Death's material is hardly a novelty for anyone who has the slightest idea what crudities were being churned up in the US scene back then, but even so compared to many of its contemporaries' axe-work circa 1985-1986, this carries a reasonable level of aggression, extremity, along with all the fundamentals that comprised the anatomy of an average speed/thrash neanderthal. In fact, had the group started their endeavors a year or two earlier, they might have surpassed their fellow countrymen Possessed, all thanks to a roiling, gyrating tone to serve as an arboretum to Hellhammer, Celtic Frost and even some of the earliest crossover thrash examples that laid in the very heart of the US. That being said, Savage Death's compositions are hardly sentient interpretations of precision. The tone is highly muscular in contrast to speed metal bands who took their respective influences from primal power metal and NWOBHM footings, but at the same time it's twangy, high-pitched and takes up the majority of space in the mix, the other quadrants unequally given to the dissipating, feral inflection of the vocals and the raw clangor of the drums.

Despite all the one-dimensional perspective of acquiring belligerence through meat, bones, grime and evil that are highly prevalent in both demos, the 1985 ''Mass Genocide'' and the 1986 ''Crucified In Hell'' have their vague differences that help butter up and radiate the emergence of diversity on the entire compilation of songs. One of the core reasons for this implicit difference may be the change in drummers; as Eric Young picks up the drum sticks in the stead of Dave Marks to do some snare-battering action on ''Crucified In Hell'', a distinction in percussion ambiguously forms, and additionally, the ever schizoid Joe Barrows also makes some slight changes in his rancorous toning. ''Crucified In Hell'' features a stockpile of tremolo wails too, unlike its predecessor, and on the same demo, the band begins a tighter focus on traditional crossover aesthetics, as seen on ''I Impaled Your Mother'' and ''Kill The Posers'', while ''Mass Genocide'' was almost purely devoted the meaty, grinding edge of its hostile brute blade, swinging voluptuously.

It seems like these vandals could have burst and released an expunging debut just a year after their second demo, but sadly, their brief discography never saw the light of a full-length that would have even trebled their potential for creating unbridled blitzkrieg. Yet, I suppose we should be thankful the band released two demos of sheer mid 80's speed/thrash excellence. Even for a critic who takes all his/her music quite seriously, this is a traumatic, raw onset of nostalgia, in which case translates simply into interaction, interaction and interaction. Certainly a sumptuous feast for anyone who gets pleasure out of early Slayer, Metallica, Exodus, DRI, Possessed, and primordial South American textbook examples of death/thrash like Sepultura, Vulcano, Attomica and Dorsal Atlantica circa 1986-1987.

Highlights
''Mass Genocide''
''The Advisory''
''Evil Dead''
''Savage Death''

Final Rating
Mediocre [7/10]

Helloween - Walls of Jericho [1985]

Even with the sudden thrash surge that was taking over the metal underground in the mid to late eighties, Helloween didn't hop onto the bandwagon, at least not the way that other German acts were at the time. When the band released their debut full-length "Walls of Jericho," there were a few other up and coming bands in Germany by the names of Sodom, Kreator and Destruction, all of which released their ruthless music in one form or another around the same period, but instead of releasing a record full of vicious riffs and ugly vocals, Kai Hansen and company delivered the best record that Helloween has ever put their logo stamp on, and it had none of the aggressive assets that made those future-legends stand out. Sure, the music on here is faster than anything the band would ever release again, but I'd hardly call it aggressive or barbaric, especially with all of the melodies and solos that make up a significant portion of the music.

After releasing the five-song self-titled EP several months earlier, Helloween unleashed their debut full-length "Walls of Jericho" which could only be described as Europe's answer to American classics that were released a year earlier such as Omen's "Battle Cry" or Jag Panzer's "Ample Destruction." The Germans had the speed, riffs, melodies, solos and everything else that goes into making a top-notch '80s speed/power metal record. But most importantly, they knew how to write songs that didn't get boring or tread upon a repetitive path that would bore the listener. There's a great mix of faster riffage that was undeniably influenced by bands like Venom, Metallica and Slayer, midpaced riffs made to get your headbanging and plenty of phenomenal solos and melodies that provided even more reasons to fall in love with the music. Kai Hansen's vocals usually draw a pretty split response from Helloween fans, but I have zero complaints about his style or performance on this album. His vocals aren't exactly pretty (like the man who would later take the reins in Michael Kiske), but they fit the music. His high-pitched yells aren't on par with Halford, but they aren't horrible, in fact, they make classic songs like "Ride the Sky" and "How Many Tears" the epic anthems that they are as his vocals mesh with the rest of the music perfectly. 

The only complaint about "Walls of Jericho" that I can make is that the band decided to start the album with the best song the band ever wrote in "Ride the Sky," a masterful song full of terrific riffs, an unforgettable chorus and plenty of lead guitar wizardry. Luckily, the rest of the songs on this record are awesome as well. "Reptile" and "Guardians" are both worthy songs and both show off Markus Grosskopf's bass skills, which is just another reason why Helloween kicks so much ass on the debut. "Phantoms of Death" is a bit more epic than the other songs on here as the verse features (what I believe is a) keyboard parts that back Hansen's vocals as well as plenty of amazing solos and melodies throughout, while "Metal Invaders" and "Heavy Metal (Is the Law)" should please all of the speed-freaks who need their dose of fast riffs. This is definitely one of my favorite power metal albums and it's easily one of the best old-school metal albums from Germany. It's a shame that the band would abandon this sound down the line (the next album, actually) to pioneer the typical Euro-power metal (ugh) that's become prevalent today, but I can always come back to this masterpiece and enjoy Helloween in their finest hour. 

Highlights
"Ride the Sky"
"Phantoms of Death"
"Gorgar"

Final Rating
Masterpiece [9.2/10]

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]

Manilla Road - Open the Gates [1985]

I cannot even fathom how difficult it must have been for Mark Shelton to top his previous masterpiece "Crystal Logic," a near flawless album that really defined Manilla Road's epic sound, but it was probably just another day at the office for the band when they crafted this very worthy follow-up in "Open the Gates." This record may not be universally recognized as amazing as its predecessor, but for myself, this album is right up there with "Crystal Logic." In fact, its a regular battle to decide which album I prefer with one being the favorite for one week and the other being my favorite the next. As amazing as the band was on the previous full-length, the effort and results on "Open the Gates" is just as phenomenal, as the epic factor would be kicked up a notch, while also making sure the shorter material was equally brilliant and memorable. 

Since this record came after "Crystal Logic," its only natural for there to be some similarities between the two albums. Both "Road of Kings" and "Witches Brew" provide the catchy headbanging tracks that compliment the more epic material perfectly (like "The Ram" and "Necropolis" did for the album before), as the songs have memorable riffs, vocal passages, drumming, solos and everything in between to create a couple of raging tunes, with the latter song being a Manilla Road classic. "Astronomica" serves a similar purpose as the title track to the previous full-length did, as it perfectly blends catchy riffs with an instantly memorable chorus and plenty of goosebump-inducing moments. "The Fires of Mars" is the answer to "The Veils of Negative Existence," with its haunting, yet beautiful aura. This song is also the proud owner of one of the greatest guitar solos in the known universe as Shelton wails away on his guitar like never before. And much like the previous effort, there are the songs that don't quite measure up to the others (and keep the record from being flawless) but remain a joy to listen to nonetheless in "Metalstrom," "Open the Gates" and "Heavy Metal to the World."

"Open the Gates" isn't an attempt at re-writing "Crystal Logic," though, despite the parallels I've drawn between the two. The music on here has an even more epic feel to the songs and part of that reason is because Shelton's vastly improved vocals that suit the style incredibly well. His singing on "Astronomica" is one of the reasons why I consider the song to be a timeless one, because it exemplifies what has always been the band's greatest strength, and that is Shelton's talent for making every part of the music, whether its the vocals, riffs or drumming (which also significantly improved here), flow together excellently. "The Ninth Wave" is another stunning song that was forged in the same vein as tracks like "The Empire" and "Dreams of Eschaton," only its a little more progressive, but a fucking terrific song regardless. Manilla Road definitely raised the bar for heavy metal with this mind-blowing release and it cemented the band's legacy as one of the premier American heavy metal bands. If you're a fan of the albums that came before this one, or even after then you shouldn't even think twice about listening to this masterpiece. 

Highlights

"Astronomica"

"The Ninth Wave"

"The Fires of Mars"

"Witches Brew"

Final Rating

Masterpiece [9.6/10]

Glacier - Glacier [1985] (EP)

Though Glacier weren’t late comers to the early 80’s power/heavy scene, for some reason they were buried deep in the stockpile of bands that were releasing considerably decent, retro material. The band was born in 1979, and their entire discography is adorned with only three releases, two demos, and this, their Ep. It’s quite obvious that Glacier was not intending on doing heavy, exceedingly fast or intense music, and even if they wanted to, the hindrance that is time would be blocking their way. The Ep isn’t even on par with some of the better, more sophisticated acts like Jag Panzer or Fates Warning, often preferring a light overtone to fit the classically decorated traditional heavy/power texture, with a diminishing raw production quality put on top of that, and overall it becomes obvious that Glacier built their five-track Ep upon some of the more classic sounding aesthetics of the genre.

The rawness of the production renders the music itself sharp and crisp, despite picking on riffs that aren’t so hefty. Though throughout the fire tracks that the Ep offers you’ll find an adequate measure of variation, which, mostly reflects the band’s propensity for catchy, hooking material, churning traditional speed metal qualities with power metal traits, there will be a gradual inclination towards an epic touch, most notably on the first two tracks. It’s not a grandiose feeling, but as many of the band’s proponents, the epic sense of the music culminates in the chorus sequence, flaring a soulful mood in the listener, and once triggered with some backup vocals, the combination becomes truly beguiling, if not wholly indulging the listener in burgeoning elegy.

And interesting fact about the Ep is that it consisted of three vocalists, Keith Flax doing ‘’When Heaven’s At Hand’’, Rex Macnew on ‘’Vandetta’’ and Mike Podrybaou on vocal duties on the remaining three songs. This is an interesting element to add to the music because each of the vocalists espouse somewhat of a different touch to the tracks, varying according to their styles, apparently. Keith Flax sounds totally like Ozzy, which is not something I’m complaining about, and Podrybaou is an efficient singer, as he swipes fluently through the finalizing tracks, which prove to the brisker excursions than the first two songs. I wouldn’t really call ‘’Glacier’’ a mind-boggling release, but it semi-complexity pervades and the structures still remain captivating. ‘’Glacier’’ is not essential by any means, though with its classic fluctuations, deep, minor leads thrilling about and excellent share of melody, it makes for a worthy listen.  

Highlights

''When Heaven's At Hand''

''Ready For Battle''

''Speak No Evil''

Final Rating

Awesome [8.1/10]

Chastain - Mystery of Illusion [1985]

Heavy metal in 1985 was still a morphing and always changing landscape, as there were groups thrashing as hard as they could, bands that were taking evil beyond its limits (Bathory and Celtic Frost), and then there were bands like Chastain who wanted to play like their heroes in Iron Maiden, Judas Priest, etc. A lot of American bands who played in this vein were usually a bit faster and ended up pioneering the USPM subgenre, but Chastain played very much like the forefathers on “Mystery of Illusion,” the band’s debut full-length record. Was this band’s rendition of heavy metal as good as the legends before? No, not really, but this album serves as a terrific foundation of what was to come in this band’s future.

As many would expect, the songs on this album are dominated by midpaced riffs and a lot of melodies, which is made apparent on the first track “Black Knight,” which consists of the aforementioned riffs and a decent melodic intro. The melody that opens “I Fear No Evil” is definitely an ear-catcher and the riffs later on also follow suit. Unfortunately, Chastain wasn’t very consistent and songs like “When the Battle’s Over” and “I’ve Seen Tomorrow” tread along a mediocre path due to derivative riffs and a lack of proper execution that was seen on other memorable tracks like “Mystery of Illusion” and “The Winds of Change.” Another track that just didn’t stick well at all was “Night of the Gods,” a sludgy song that had plenty of St. Vitus and Black Sabbath influence, but this clearly isn’t the style of music that Leather Leone and the crew excel at. 

Speaking of Leather Leone, she is one of the highlights on this album with her beautiful voice that possesses an insane range. Her singing on “Endlessly” is soothing and pleasant, but she can also hit the high notes and bring a bit of aggression to her vocals as well (“I Fear No Evil”). Another bright spot on this full-length is the lead guitar work of David T. Chastain. There are of course the aforementioned melodies that show off his skill, but this man can absolutely shred and this is noted in just about every song. His solos are brilliant, there’s a perfect mix of melody and technicality in every one, adding something to remember on even the dullest of songs. “Mystery of Illusion” isn’t the greatest heavy metal album that you’ve never heard, because there are plenty out there that are better, but it’s still a quality listen from a stellar band who would later go on to unlock their real potential with their next release. 

Highlights

“Mystery of Illusion”

“I Fear No Evil”

“The Winds of Change”

Final Rating

Mediocre [7.8/10]

Artillery - Fear of Tomorrow [1985]

If you take a look at the year of release for this record, then you understand that the thrash subgenre had not even yet entered its prime, so when some relatively unknown act (globally speaking) coming from Denmark hit the scene with their debut full-length “Fear of Tomorrow,” I’m sure not many people expected to hear something this terrific. Sure, this record isn’t usually referred to when people talk about their favorite Artillery album and it's never a common one thrown around in thrash circles when talking about "greatest thrash albums ever," but that does not take away just how well this album came out and how it is looked at now. This band is typically revered by fans around the world because of their masterful ability to weave in technical excellence with a thrashing energy and mentality, but on this album, it’s pretty much non-stop thrash mayhem. 

Before Artillery was making a name for themselves with the Stutzer brothers’ incredible fret work, they were smashing skulls with upbeat and fast riffs that were more akin to the bay area bands than the Germanic beasts in Europe. The opening track “Time Has Come” starts with an acoustic piece before it escalates to a track full of fury and shredding solos. “Out of the Sky” and “Fear of Tomorrow” are two of Artillery’s most thrashing onslaughts, with fast riffs that rip past the listener as well as stomping and crushing midpaced ones, battering drums, and Flemming Ronsdorf’s unique vocal delivery. Ronsdorf’s vocals are definitely reminiscent of vocalists from the USPM scene, where over the top vocals are commonplace, but unlike a majority of the power metal frontmen, Ronsdorf also possessed a real gruff edge to his voice that reminds me of Paul Baloff or Bobby “Blitz” during this time period. 

In addition to some catchy riffs and charismatic vocals, Artillery also provided a good deal of variety that other thrash acts at the time didn’t have. Germany had bestial thrashers in Kreator and Sodom, but songs like “King, Thy Name Is Slayer” and “Deeds of Darkness” provided plenty of head banging moments while also captivating listeners with top-notch solos and fantastic songwriting. One of the band’s most classic songs also makes this album a must listen, as “The Eternal War” has more than enough spectacular qualities than many a thrash band’s albums do, including some incredible riffs, bass lines and brilliant vocal passages. “Fear of Tomorrow” is an absolute classic, yet Artillery would still go on to top themselves and permanently stamp their name on the thrash genre. 

Highlights

“Out of the Sky”

“The Eternal War”

“Fear of Tomorrow”

Final Rating

Awesome [8.9/10]

Stormtrooper - Armies Of The Night [1985] (EP)

The early and primitive aesthetics of many metal sub-genres were reached their climax during the time where they were first born, and no matter how much you enjoy the brickwall superiority and contemplating complexity of modern power metal bands, you can’t deny that the genre was at its best during the early/mid 80’s when it was dominated by pure raw energy, and the USPM scene always mustered some of the best metal around, brisk, tight, catchy, and even bedecked with carnivorous evil at times. Iron Cross’s sequential debut album is the best example to the early, evil-tinged power metal, and their fellow countrymen Stormtrooper is an act even more obscure, yet just as deadly and vigorous.

The year is 1985, and the USPM power metal classics have just been unleashed, with many more to come, and Stormtrooper’s debut Ep, ‘’Armies Of The Night’’ proves to be an especially original (for the time) five track barrage of early thrash savagery mixed with an energized portion of USPM a la Jag Panzer, and a dose of NWOBHM, since many genres haven’t culminated at that time. The production quality is also surprisingly clean, rendering the instruments audible, but a gritty tone is naturally unavoidable.  Stormtrooper even exploit a bit of punk to add some steam and intensity to the foray of riffs, but there’s also plenty of melody, not just bland chords played in an inexorable attitude, but a fresh breath of air every time another song kicks in. Another record that definitely contributed in the main structure of ‘’Armies Of The Night’’ is undeniably, ‘’Kill ‘Em All’’, but the music here is slightly more epic shrouded in fog than the genre defining masterpiece, and you can also be sure that’s it’s not as sordid, since this is after all power metal.

The rough, croaky delivery of the vocals is perfect for the music under it, raw, evil-natured and frantic, and even raspy when he tends to shriek out, a bit like Millie in his early days. But even though it’s raw and gritty, ‘’Armies Of The Night’’ is surely not dissonant and devoid of harmony, and ridiculously catchy, at that. Unfortunately, it Stormtrooper did last long, and shortly after this, their sole, release, the band disbanded, leaving us with only eighteen minutes evil power/thrash. Perhaps the Ep may not be on par with its peers that helped shape the genre, but it’s an Ep that any resident USPM fan should be zealous about.

Highlights

''Armies Of The Night''

''Steamroller''

''The Beast Within''

Final Rating

Awesome [8.3/10]

Attacker - Battle at Helm's Deep [1985]

Aside from the fact that the image depicted on the album cover looks nothing like a battle at the famed Helm's Deep, Attacker did everything right with this record. "Battle at Helm's Deep" is considered a classic of the genre for the simple reason that it kicks copious amounts of asses in the way that cheesy, over the top US power metal is supposed to. These guys weren't worried about being taken seriously like all of those other wankers who name their band "Lord of the Nazgul" or any other Tolkien creation, they just wrote some catchy music that has stood the test of time, 27 years to be exact. Along with bands like Omen, Griffin, Jag Panzer and the like, the United States power metal scene was one to be recognized as a premier one. 

A lot of the riffage on this record would be considered bland and generic by today's standards, but I shit on today's standards which is why the music on "Battle at Helm's Deep" is that damn good. The opening riffs on "Downfall" are complete and unashamed Judas Priest worship while the riffs on the title track could have been transplanted from "Killers." "The Hermit" and "(Call On) The Attacker" both feature relatively thrashy riffs that aren't too special, but with Bob Mitchell's eccentric vocals and the unbridled energy that is present, there is still plenty of substance, making these tracks that much more memorable. I'd also be a terrible liar if I said that I didn't headbang myself into near brain damage while listening to "Kick Your Face," which features riffs that convey the title perfectly. 

Like a lot of US power metal bands, the vocals here are high-pitched and at times quirky. Mitchell's Halford-like screams aren't as pleasant as the legendary frontman, but they do the trick thanks to a little bit of that energy and fervor that people like Balloff and Blitz had. Another highlight on this album is definitely the soloing. Every solo is fantastic with it's miraculous blend of shredding and melody and they could easily get the listener to whip out their air guitar and solo manically on their imaginary axes. Attacker's real strength is the way in that they play their music with such conviction and menacing precision that they're easily revered by fans, despite their music not possessing the memorability of their counterparts in Omen, or the epic feel of Sanctuary. Still, this is a band that should not be passed up and "Battle at Helm's Deep" is an incredibly fun listen that will have you coming back time and time again. 

Highlights

"Batlle At Helm's Deep"

"Kick Your Face"

"Dance of the Crazies"

Final Rating

Awesome [8.7/10]

Sacrilege - Behind the Realms of Madness [1985]

I can't think of any two metal subgenres that embrace aggression or personify intensity as much as thrash or crust do. Sure, there's the abrasiveness of war metal and the horrifyingly awful repetitiveness of brutal death metal, but neither boast the memorability or catchiness of some good ol' metalpunk or thrash (There are a few exceptions to this, though). So when encountering an album like "Behind the Realms of Madness," a record universally known as a prototype for the crust punk sound and one that possesses plenty of thrashing recklessness, there's of course going to be a solid amount of excitement and anticipation upon the first listen. Well, don't set your expectations too high unless you enjoy letting yourself down.

Sacrilege's debut full-length is far from terrible, but it wanders aimlessly between tolerable and brilliant throughout its six song duration, just enough for it to hover on the higher part of the proverbial scale. The record gets off to a decent start with "Life Line," as it bombards the listener with passable thrashy riffs, crust oriented passages, wicked solos and over the top vocals, that have a lot of Grimmett-like tendencies, but with a lot more anger and attitude. Sacrilege seemingly appears as an elite band once the next track "Shadow From Mordor" comes on with its dirge-like intro riffs and terrific solos. But that's the last we see of the greatness. 

The next four tracks on "Behind the Realms of Madness" are nothing more than visions of what could have been. "At Death's Door" features mediocre riffage until the break where the listener is treated to a catchy headbanger of a riff, only for it to drag on and go absolutely nowhere. "A Violation of Something Sacred" and "Out of Sight Out of Mind" both offer flashes of glory with Venom-esque riffs and moments of thrashy goodness, but neither ever ascend past the plateau made at the beginning of the record. It's too bad that Sacrilege didn't live up to the hype, and instead chose to tease the listener, making "Behind the Realms of Madness" a good album that could have been stellar.

Highlights

"Shadow From Mordor"

"A Violation of Something Sacred"

Final Rating

Barely Awesome [8.0/10]