Cyclone - Brutal Destruction [1986]

It might be a sad fact that Cyclone suffered from anachronisms throughout their brief career, but they nevertheless managed to emerge as one of the best Belgian thrash outfits with only two full-lengths at their belt. While their sophomore was a tour de force in the realms of classic, albeit chunkier Bay Area thrash, complete with a characteristically dark and alluring atmosphere, back in 1986, when Bay Area thrash was just finding its way around the woodwork with cornerstones like ''Master of Puppets'', ''Reign in Blood'', ''Darkness Descends'' and ''Bonded By Blood'', the Belgians were keeping more to the German rule book, boasting a vicious, uncompromising Teutonic aesthetic which Kreator, Destruction, Sodom and Tankard were promulgating at the time, doused in speed metal. As crazed and energetic it may seem to purists, ''Brutal Destruction'' is not the most memorable piece to be excavated from its time, even though the Belgians obviously had a good head start.

Cyclone always seemed one step behind the world, which is probably why they were lost in the throngs. Had this record come out 2-3 years before its release, it would easily had been hailed as one of those cult pre-'85 recordings, with ragged production values and undiluted, sporadic speed/thrash riff ballasts supporting its cult status. But that's not the case here, since ''Brutal Destruction'' feels like an average ringlet in the whole circular universe of thrash recordings, even at a time when the genre was still fresh and malleable. Still, that's not to say ''Brutal Destruction'' is bad; while I'd still say this isn't as impressive or technical as something Dave Mustane would have crafted at the time, speedy guitar licks and delicious lead snippets inserted into a broader, savage thrashing undercurrent, Cyclone is notably 'German' here, with a sound that reminds one of the earliest Destruction and Kreator records peized randomly and stuffed into a nice speed metal cauldron, yet not as evil as some of Sodom's early recordings, stripped almost entirely from all sense of melody. Ripping, ribald muted tremolos and occasional heavier moments that borrowed a riff or two from ''Pleasure to Kill'' give the impression that the band members where still uncertain whether they should go by a more straightforward speed/thrash aesthetic or a slightly more complex hefty thrash barge (it turns out they picked the latter in the end, although not on this record) with reasonably outrageous and corny song titles (''Take Thy Breath'', ''Incest Love'', ''In the Grip of Evil''). Unmuzzled and road-driven as these riffs are, it's hard to take Cyclone too seriously, even with the evident energy bestowed upon their performance: this is 'real' 80's metal for sure, but it also feels more moderate than the higher octane body of works that was being put out at that time.

The vocals give that frenetic Paul Bailoff effect; they're amateurish (not unlike the sophomore) but there's enough shrieking and shouting to be heard to make them enjoyable. I'm not going to lie that the guitar tone and the production levels are surprisingly impressive for a record out of 1986. The chords, the drums and even the plodding, one-dimensional base lines are all suitably integrated into the mix, and if anything, the leads, in all their frivolity, are still fairly entertaining with a sporadic blues attitude, reminiscent more of a ''Kill 'em All'' than ''Infernal Overkill''. To be honest, there are good tracks here: ''Long to Hell'' and ''Incest Love'' are both quite compilation-worthy, fiendish shouting and successively rabid riffs galore. ''Fall Under His Command'' is probably my favorite tune here, possibly because of its swirling panorama of guitar solos and a bulky, percussive main riff coupled with some more fanciful, tremolo picking episodes, but in the end, none of these tracks are really on a par with the premium material that was being released in '86-'87, nor do they cast a wide net of creative reinforcement upon the genre. Needless to say, I'd vie for the Belgians' sophomore over this any day for its sheer crushing majesty, but ''Brutal Destruction'' yet remains as one of those half-unearthed mid-80's speed/thrash gems that deserves a discovery (or rediscovery) at the hands of collectors or purists, and even beyond that it remains a spry and rampant declaration of the genre's hostility against those who supposedly flattened out its tires with tongue-in-cheek during the early 90's. Poseur-free as always.

Highlights
''Incest Love''
''Fall Under His Command''
''Long To Hell''

Final Rating
Mediocre [6.8/10]

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]

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]

Heathen's Rage - Heathen's Rage [1986] (EP)

Even though Heathen's Rage released a demo (though it was more like a full-length, with ten tracks at 35 minutes) before this release, I have yet to locate it, but this three song, self-titled EP that followed is a nice little collection of music for fans of '80s US power metal. This EP doesn't have any material that could really rival earlier bands' outputs, which contains a small list of masterpieces that include "Metal Church," "Battle Cry," and plenty of others, but "Heathen's Rage" is still worth a moment of your time if not for "Knights of Steel" alone. 

"Knights of Steel" is the opening track for this EP, and it's a terrific song with a near-epic clean guitar intro that serves as the backdrop to a melodic solo. Then the bass and drums come in, before this song starts to pick up. Bob Pizzauro's vocals are a pleasant surprise, because they're very clean and soothing. There's not a hint of aggression like there usually is with other power metal singers. "City of Hell" isn't really a great song, but it does show how good the group's drummer is. His opening drum fills and solo moments are top-notch, and this can be said for his entire performance on the EP. "Dark Storm" is a thrashy number that will get your head moving, but not much else. Overall, "Heathen's Rage" is a decent three song EP that power metal enthusiasts are sure to enjoy. It's unfortunate that they never released a full-length album, because based on this performance, that record would have been awesome. 

Highlights

"Knights of Steel"

"Dark Storm"

Final Rating

Awesome [8/10]

Satan's Host - Metal From Hell [1986]

We'd better add yet another great album to the list of legendary albums that came out in 1986 with this record. I'm not saying that "Metal From Hell" is legendary or that is of the same caliber as say "Pleasure to Kill" or "Reign in Blood," but it's a damn fine album that deserves a mention or two anytime that unholy year is brought about. Satan's Host are one of the more peculiar power metal groups from the United States, in that they were much darker and evil than bands like Omen, Griffin, Jag Panzer, and many of the other popular US acts in the early to mid '80s. Their lyrical focus was all about Satan, hell, death, and the evil kind of stuff like that, not your normal power metal type lyrics. Another part of their music that separated them from other bands was the production on this album. It's terrible, but in a great way that adds to the atmosphere, similar to bands like Iron Cross or Heathen's Rage. 

Musically, Satan's Host knew exactly how to work their instruments to near perfection. The riffs range from derivative thrash/speed metal blitzkriegs, to complete Motorhead worship, all the way over to stellar riffs that are blended with melody much like many of the USPM bands of the day. "Black Steele" is a catchy, thrashy track sure to get your headbanging and the next song "Into the Veil" is another decent song, but once past those two tracks, "Metal From Hell" comes in and blows the preceding two completely out of the water with a punk-inspired assault and intense vocals that command the listener's attention. Leviathan's vocals are a definite highlight on this record, as he can sing cleanly and beautifully, but can also scream his fucking lungs out and capture an evil, almost maniacal sound ("King of Terror"). The track "Hell Fire" is an epic one that epitomizes power metal with its terrific intro, top-notch riffs and the incredible guitar solos that lead into a clean section where, Leviathan, once again shows off his vocal skills. 

Much like the vocals and guitars, the bassist's performance on this record is fantastic. There are plenty of nice fills, like on "Strongest of the Night" where the bass almost outshines the guitar solos. The bass parts on the intro to "Hell Fire" is another moment that should be highlighted, as it contributed to the overall brilliance of the track. The drumming isn't quite as special as the other instruments, but it's adequate and no complaints can be made. "Metal From Hell" is quite easily a gem of the USPM scene (Which was one of the best scenes around) simply because it conjured evil spirits and demons that other bands simply could not, and for that I salute Satan's Host. 


Highlights
"Metal From Hell"
"King of Terror"
"Hell Fire"


Final Rating
Awesome [8.7/10]

Chastain - Ruler of the Wasteland [1986]

Just by glancing at the album art, you can probably tell what you're getting yourself into when it comes time to listen to "Ruler of the Wasteland." This is epic heavy/power metal of top form with plenty of Judas Priest and Maiden worshiping going on. Chastain is a band that is for some reason, not as popular as they should have been. I rarely ever see mentions of this band on the internet and I stumbled across them by accident myself, but I'm fucking glad that I did. The band's first record "Mystery of Illusion" honestly isn't anything worth writing home about, as it's solid, but it just can't compete with this greatly improved sophomore album, a record boasting epic atmospheres, catchy hooks and fantastic melodies throughout. 

"Ruler of the Wasteland" starts off with the title track and immediately the listener is grabbed by the shredding solos and the catchy Judas Priest-inspired riff that follows. But then the vocals come in, and I'm sure if I didn't tell you or you didn't look it up yourself, you would never guess that Chastain was fronted by a female in Leather Leone. Her vocals are plenty aggressive (well, as far as power metal goes. Think David Wayne of Metal Church), but there are also plenty of moments where she hits the real high notes and she does so with the greatest of ease. The range of Leone's vocals is a definite highlight on this album, as it provides the listener with some added variety to the already varied music. Some of the tracks are typical power metal tunes that feature typical riffage and shredding solos galore, with "One Day to Live" and "Fighting to Stay Alive" being the main ones to follow this archetype. Tracks like "The King Has the Power" and "There Will Be Justice" travel a more unorthodox route, using the bass as the focal point of the music at points and mixing in the acoustic sections with the rest of the music, but the songs are fine nonetheless. 

Of course, I said Chastain has their epic material and that's really when they're at their best. "Angel of Mercy" is the best track on "Ruler of the Wasteland" with its chilling intro, terrific riffs, stellar melodies and solos, and of course the soaring vocals that top everything off. I guarantee this song will be stuck in your head for a while. "Living in a Dreamworld" and "The Battle of Nevermore" are also pretty epic in their own right, though they just can't measure up to the brilliance of "Angel of Mercy" (Then again, that would be asking too much). "Ruler of the Wasteland" is just another awesome album that came out in the year where so many masterpieces were released that it unfortunately got lost in the shuffle, but that's no reason to doubt the top-notch material here, so check out Chastain immediately or heads will roll...

Highlights

"Ruler of the Wasteland"

"Angel of Mercy"

"Living in a Dreamworld"

Final Rating

Awesome [8.6/10]

Vulcano – Bloody Vengeance [1986]

Vulcano may not be as well known as their Brazilian comrades Sepultura, but they may be just as, or even more, important to the evolution of extreme metal, having often been cited as the first band from Brazil to play a style of black/death metal in the 80’s. Having started in ’81, you could actually say that Vulcano would have influenced their peers and possibly inspired them to pick up their guitars in the first place. After having released a few obscure traditional metal demos and a live album they unleashed their debut full length, the legendary “Bloody Vengeance” upon the world.

Recorded in a mere 24 hours, the production isn’t the best, but it fits the evil and chaotic sound nicely. Once you’ve heard the opening track “Dominios of Death”, you’ll see what I mean and you’ll either be flailing about like a mad man or reaching for the stop button. The music itself is a blend of Venom-esque speed metal and chaotic early Brazillian death/thrash metal; it’s nasty, rough, raw and evil. Songs like “Spirits of Evil”, “Ready to Explode”, “Holocaust”, “Death Metal” and the slower closing title track provide a fine example of primitive extreme metal and the foundation of the early Brazilian scene.

There’s not much else that can really be said about a full length album that clocks in around the 23 minute mark, but “Bloody Vengeance” is an untouchable and undeniable classic of South American evil and a must own for any serious fan of black, death or thrash metal.

Highlights:

Dominions of Death

Spirits of Evil

Death Metal  

Final Rating:
 Masterpiece 9.0/10

Iron Cross - Iron Cross [1986]

The power metal scene in America during the eighties was easily one of the best scenes around. These bands, whether it be Omen, Jag Panzer, Attacker, or Metal Church, were all capturing the catchiness of the traditional heavy metal acts around, but they also had a lot of faster material that was more akin to the thrash bands that began to sweep the world. Iron Cross is another one of those bands, though, these guys really stand out because of their underlying evil tone. Bands like Slayer and Kreator were innovating with their takes on brutality in the metal underground during 1986, but they didn't have that dark feeling that Iron Cross could seemingly conjure at will with nothing more than a few melodies, some occult song topics and some stellar vocals that all make their self-titled debut a masterpiece of the genre. 

The album opener "Demon's Disciple" opens with some feedback and the eventual thumping bassline that serves as the prelude to a chugging riff that alone isn't anything special, but then the vocals come in. These are definitely not the kind of vocals that a typical power metal listener would be accustomed to, simply because they sound a little demented which adds to the creepy and sinister feel perfectly. The track "Bloodlust" is even crazier as the vocals are completely unhinged and the addition of sadistic laughter and slow, vile melodies makes for an extremely fun listen. "Dark Dreams" and "Mistress of the Dark" are two basic power metal tracks that don't stray away from the norm, but both songs still rule with an iron fist, the latter track being one of my personal favorite power metal tunes of all time (The catchiness is fucking ridiculous). 

Along with the more upbeat power metal tunes and the more chilling material, Iron Cross shows off some of their versatility with the tracks "Demons" and "Fantasy World," both of which feature clean guitar passages and clean singing, which ordinarily would be completely normal, but in contrast to manic songs like "Bloodlust" and "Demon's Disciple" it's incredible to see the band slow things down for some more relaxing songs that are just as great as the other songs. Aside from everything already praised about this record, there isn't much more to say, except that even guitar virtuosos would drool over the lead work here. The solos are mindblowing, and the epic solos that serve as the ending to the track "Fantasy World" are masterful, which really reflects this work as a whole. Masterful. 

Highlights

"Demon's Disciple"

"Bloodlust"

"Mistress of the Dark"

Final Rating

Masterpiece [9/10]