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]

Pestilence - Consuming Impulse [1989]

After delivering the awesome "Malleus Maleficarum" only a year earlier, Pestilence would unleash this monolith of death/thrash greatness on Christmas of 1989, and I could only imagine how awesome it would've been to unwrap a "Consuming Impulse" LP and see that near-iconic album cover staring back at me (what an unholy holiday that would've been). The thrashy record that preceded this one was a fantastic foundation for the Dutch quartet to build upon and they did just that, as nearly every aspect of the music on their sophomore is improved from the debut. The riffs, vocals, solos, songwriting, rhythm section and every other intangible part of the horrific music is better than it was on "Malleus Maleficarum," making "Consuming Impulse" a must-have for any fan of death metal, thrash metal or all around violent and gut-wrenching music made to crush bones and fracture skulls. 

I can't pick just a single highlight of this record, as it's impossible to choose between Van Drunen's brilliant vocals and the excellent riff-fest courtesy of Patrick Mameli and Patrick Uterwijk. Van Drunen provided one of his best performances on this album (second only to his amazing work on "Last One on Earth"), as he no longer sounded like the thrash frontman from the prior album, but a man who personifies death. Put together his brand of death growls which sound like someone who is dying from a slow shotgun wound to the chest with song titles like "The Trauma" and "Reduced to Ashes" and you've automatically got a winner. Throw in some of the catchiest riffs around and you've got an instant masterpiece. It also helps that the rhythm section is improved as well. I can actually pick out drum fills that caught my attention throughout the record and I never had a problem with the drumming during faster parts of the music or the fills during slower and heavier moments. Even the inclusion of synths at points doesn't bother me as the break in "Suspended Animation" is one of the most memorable moments of the album. The riffs are brutalizing, the vocals are horrendously perfect and the headbanging inevitably painful, yet entirely satisfying. 

When you kick off a record with a death/thrash classic like "Dehydrated" which features a terrific mix of thrashy and death metal influenced riffs, you've gotta wonder how the band would top that song later on, and then they do with another onslaught in "The Process of Suffocation." Every song features riffs of the "to-die-for" variety; riffs that are instantly ingrained in one's DNA and also induce plenty of whiplash, though no song has more chaotic and violent riffage than "Echoes of Death" which would put Demolition Hammer (the masters of violence) to shame. "Deify Thy Master" also balances out the heavy with the darker material with its sweet tremolo passages and melodies that foreshadowed what was to come later on in the band's constantly evolving discography. "Consuming Impulse" isn't only a vast improvement from the already stellar debut album, but a masterful work that has stood the test of time as one of the best death/thrash full-lengths ever. I can't recommend this album enough, so I'll let the music do the talking for me and if you haven't had the pleasure of listening to Pestilence's finest work, prepare to be reduced to ashes. 

Highlights
"Dehydrated"
"The Process of Suffocation"
"Suspended Animation"
"Echoes of Death"

Final Rating
Masterpiece [9.5/10]

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]

Paradox - Heresy [1989]

Germany is the Sweden of thrash, a place where you would find hordes of thrash bands. All particularly vicious and savage, the German thrash metal bands were altered and influenced heavily by their most primal countrymen like Kreator, Sodom and Destruction. This trio shaped and respectfully  embodied the German scene, thus constructing into the scene that it is now known as. Paradox, however, were a slightly peculiar group, displaying much different influences and sounds on the table than the already present  unpolished, vicious form of thrash that seemed to flow in the vein of all the German bands of the 80's and early 90's. Everyone brags about their debut album, a relatively fun piece of techy speed/thrash that was already highly present, or their later offerings which still aren't bad offerings, however, these people ought to be informed that ''Heresy'' is their true magnum opus, their most influential, their most effective and their sharpest. ''Heresy'' introduced even more melodic riffing and here, Paradox churned together Bay Area-oriented thrash with power metal most successfully. This is album is gleaming and teeming with energy, and its definitely something that Bay Area thrashers or old school power metal nerds should check out.

Usually well composed songs and simple song architecture doesn't catch my attention right off, but on this album, every aspect is put into place in a very organized manner, so the typical verse-bridge-chorus structure actually becomes an enjoyable experience because you can actually sing along with the catchy choruses and remember the riffing whenever in explodes once more. Every riff is just razor-sharp, and Paradox manages to constantly absorb the listener with a diverse assault, without even being so technical or heavy, showing that a simple, crushing riff isn't the only thing that fuels the fire of a thrasher. Like I said, the album is teeming with energy and vigorous bursts of pure melodic, Bay Area influenced thrash which comes in an abundance. Speaking of melody, I think Paradox is one of the first bands that successfully merge power metal with thrash metal, and not only that but also add some technical spunk on top of the riffs to boast their quality. The power metal influence is inserted in every element of the music is a healthy dose, but certain riffs have a more epic side to them, showing that the power metal influence is the main thing that keeps their blood boiling. The leads are also stellar, dual guitar harmonies, with shredding passages, and the much common sound of the groaning tremolo bar, screaming and shouting, as if being tortured.

The vocalist is an obvious reminiscent of Joey Belladona circa ''Among The Living'' era Anthrax. His style is perhaps a little more high-pitched than the famous thrash frontman, but it only complements the music better as power metal is all about screaming your lungs off with intense energy in the vocal department. There's a vast array of technical and melodic thrash riffing on the title track which tends to live slightly longer than any other song on the album, and ''Search For Perfection'' starts where the title track left, carrying out the robust thrash energy with some more simple riffs, and ''Killtime'' introduces some lower fret tremolo descending and  even more melodic spikes constantly battering the listener. ''Massacre Of The Cathars'' is one of the albums most stellar highlights, gathering all that has been previously done in one package and then displaying them in a most eruptive way. Just as it produces some expeditious power/thrash riffing, it also follows the same path as its primal German ancestors, bringing forth some engaging thrash crushers, while still keeping the the substance sturdy. Paradox truly concentrated and worked hard on this album, because while many people are blindly adore the primitive death/thrash aesthetics originated in Germany, their eyes cannot endure the flashiness of this masterpiece, rendering it a true underground gem.

Highlights:
''Serenity''
''Search For Perfection''
''Massacre Of The Cathars''
''Heresy''

Final Rating:
Masterpiece [9.2/10]

Terrorizer - World Downfall [1989]

The thrash genre can only get so heavy or so brutal before it completely evolved into something entirely different. The German bands were pushing the limits with their spastic approach to the genre, and then there are the proto-death metal bands, but there were also those crazy bunch of punks in the UK who really loved their hardcore punk, but much like the thrash acts, they needed something more extreme. Terrorizer, took the early grindcore sounds from across the ocean and injected a dose of thrash intensity, as well as some minor death metal attributes which resulted in one of the most influential grind albums ever in "World Downfall."

To make an entirely accurate comparison of this album, I would call this record the grind equivalent of "Reign in Blood." Clocking in at just a little over 36 minutes with 16 tracks, this album is a shot, no make that a few shots of adrenaline to the listener. "World Downfall" doesn't let up whatsoever, and it's because of that this album retains such a great replay value. Despite every song sounding rather similar with the same pattern of midpaced riffs that could break even George "Corpsegrinder's" tree-trunk of a neck and some highly thrashy riffs pushed to the limit by Sandoval's intense and relentless drumming, every song is memorable and manages to stand out. It doesn't matter if they're songs like "Storm of Stress" or "Injustice" that last just a little more than a minute, they're just as effective as tracks like "After World Obliteration" or "Dead Shall Rise" that make it past the three minute mark. 

Garcia's vocals on this record are great and they mesh perfectly with the music, even when the songs are reaching tempos beyond comprehension thanks to Sandoval, whose drumming is another highlight of "World Downfall." His blasts are very tight and precise, but his double bass work during more midpaced moments is also top notch. Bassist David Vincent is no slouch either, and the bassline for the intro of "Fear of Napalm" is one of the catchiest I've ever heard, although it helps that the song is one of the greatest tracks ever recorded. 

I find it impossible to criticize this album, as it doesn't ever get old or overstay it's welcome. "World Downfall" is the perfect album for those that are new to, or want to give grindcore a chance as it is definitely the pinnacle of the entire genre and can only be rivaled by Repulsion's masterpiece "Horrified," but that discussion is for another day. 

Highlights

"Fear of Napalm"

"Corporation Pull-In"

"Dead Shall Rise"

Final Rating

Ripped to Shreds... [10/10]

Energetic Krusher - Path to Oblivion [1989]

When it comes to thrash and the UK, there are always the same names that are mentioned first. Onslaught and Sabbat. Both of these bands are great and more than worthy of the praise, but there is another band from the UK who should be mentioned in the same breath as these two bands. That band is Energetic Krusher. While Onslaught was writing their brand of awesome thrash and Sabbat was taking a more progressive route, Energetic Krusher was brewing up some intense, brutal and extremely catchy music. "Path to Oblivion" is another album of many to go unheard of, which is too bad because this record could easily compete with much more known thrash albums out there.

So what can you expect from "Path to Oblivion?" You can expect to be destroyed by the vicious and crushing riffs that are accompanied by some Slayer-esque solos, stellar bass work, fast and precise drumming, and vocals that sound like a harsher Max Cavalera. The riffs on this record are phenomenal in every way. The faster ones will smack the listener across the jaw with the force of a sledgehammer. Both tracks, "Battle Cry" and "Yukk" clock in at under two minutes, but both songs hit with a serious impact. One second you've got your headbanging to a nice mid-paced riff, but then in an instant, the drums fire off like a machine gun and that riff increases it's speed tenfold. Another reason why the riffs on "Path to Oblivion" are amazing is because even the mid-paced riffs are unbelievably catchy. It will be impossible to not headbang when listening to tracks like "War Path" and "The Blades." The combination of the lethal vocals and mosh-inducing riffs is too much for any metalhead to resist. 

Despite Energetic Krusher's focus on undeniable brutality, they manage to accomplish one of the most essential things needed in their music. And that is having the ability to structure their songs in a way that each track stands out and grabs the listener's attention and keeps it throughout. "Lord of Darkness" starts off with a slow, heavy intro but then it turns into a steady gallop, and then a raging thrash riff enters the fray, sending the listener into a frenzy flying fists and merciless headbanging. "War Path" is another track that does this perfectly. The intro kicks the track off with a sinister clean intro accompanied by some nice bass lines but the the track becomes an instant mosher and never looks back from there.

So if you're in the mood to check out something that is guaranteed to get your headbanging and satisfy your needs for brutality, then check out "Path to Oblivion." 

Highlights

"Lord of Darkness"

"The Blast"

"War Path"

Final Rating

Masterpiece [9.1/10]

Paul Chain - Life and Death [1989]

When I think of Italy, I mostly think of all the great food and doom metal to come from there. Paul Chain is no exception when it comes to absolutely amazing, eccentric doom metal. Paul Chain is an extremely experimental musician who tends to take aspects of the spacey progressive rock (similar to that of the band Goblin, as you'd here in the intro for the album, "Steel Breath") and blend it in with traditional and epic doom metal that isn't as heavy as a band like Candlemass unfortunately, but it's still excellent.

What the music lacks in heaviness, it makes up for it in brilliant progression and just overall great doom metal. Songs like "Antichrist" and "Kill Me" bleed absolute true doom while other songs like "Ancient Caravan" and "My Hills" sound like folk music blended with Black Sabbath. There is a very strong Black Sabbath influence all over this album in the music that meshes together with Paul Chain's melancholic moans and cries to make the epitome of sorrow. The best way to describe the sound on this album would be "traditional epic progressive heavy/doom metal." What a mouthful, eh ladies? The riffs are all pretty slow but they gallop along with the album in a way that keeps you hooked while the vocals are often sung in a way that sounds similar to Messiah Marcolin's epic cries of doom. However, they tend to have some moments where it's quite close to a rough kind of lower vocals that I am not sure what to compare it to.

The experimentation on the album has it all over the place within the genre of doom but it flows together nicely, as contradictory as that sounds. There's influences from traditional doom, epic doom, Black Sabbath and that spacey progressive rock. Paul Chain, is a musical mastermind and is extremely underrated. For shame, world. For shame.

Highlights

"Antichrist"

"My Hills"

"Kill Me"

Final Rating 

Awesome [8.9/10]

DVC - Descendant Upheaval [1989]

These guys are true pioneers. Not only did they release one of the first albums to be considered a death metal release (more on that later), but they were incorporating famous movies into their "gimmick," long before all those bands with names like "Nazgul" and "Amon Amarth" started popping up. Yes, DVC is indeed an acronym that translates to "Darth Vader's Church," and if he did go to church and they were playing music like the songs found on "Descendant Upheaval," I might actually be inclined to visit the holy grounds. 

"Descendant Upheaval" is considered to be a death metal album, but why? Where are the evil sounding death metal tremolo passages? Where are the blast beats? Sure, the vocals sound like they could be fronting a death metal band, but they also sound like they could be commanding some random grindcore act, basically resembling a cross between Oscar Garcia (Terrorizer) and Karl Willetts (Bolt Thrower). This album definitely treads along the same waters that Bolt Thrower's "In Battle There Is No Law" did, taking heavy influence from the thrash bands of the 80's and throwing in some punk. Instead of placing emphasis on heaviness and capturing an evil sound, DVC just onslaughts you with catchy riffs that will get your headbanging. The opening riffs in "Embalmed In Stone" are absolutely brilliant and wouldn't sound out of place whatsoever on an album like "World Downfall." 

Another instance where the "Grindcore" sound is clear is the inclusion of the bass. The bass sound can be heard pretty easily and it gets plenty of opportunities to shine on its own ("Southside Dirthead" and "Licentious Abandon") and get your head bobbing along. The drums are pretty fast, but the need to add blast beats never occurs with DVC and the need isn't necessary either. Another thing to mention is that the drums always have some kind of cool little fill or added nuance to the music which is always a positive. 

So, is "Descendant Upheaval" a pure death metal album? No, not in this writer's opinion. There are certain instances where death metal trademarks can be found, but it almost seemed like something foreign to the band. The attempts to incorporate a slower or doomy sound on the intro to "Eve Angel" don't sound as awesome as they do with other bands at the time (Autopsy and Obituary in particular) and the intro to "Bow of Mortis" is nice, but not nearly convincing enough to declare DVC's debut full-length a death metal album.

This isn't the greatest metal album that you haven't heard of, but it's definitely worth checking out, especially if you're a fan of grindcore or early primitive death metal. On a closing note, make sure you don't skip the intro track "Cranium Overture," unless of course you are a freak and don't like Star Wars. 

Highlights

"Mourning Sun"

"Embalmed in Stone"

"Descendant Upheaval"

Final Rating

Awesome [8.5/10]

Deranged - Place of Torment (Demo) [1989]

This demo is easily one of the most vicious demos to come from Canada. Deranged were a thrash metal band from British Columbia that formed in 1987. They played an extreme hybrid of thrash metal with a bit of early death metal thrown in (mostly in the vocals and drumming). They released two demos ("Premonitory Nightmare" and "Place of Torment") before changing their name to Debt of Nature and releasing one more demo before disbanding in 1993. I myself am extremely dissappointed with the fact that they never went anywhere in the thrash metal scene even though "Place of Torment" is something beautiful. It's fast, vicious and sounds pretty much like Morbid Saint does. What a shame.

The music on the album is extremely savage and the guitars sound like they could literally rip through your chest like a chainsaw. The bass is hardly audible as the production is only as good as one could get for a demo recording in 1989. The drums are very standard with lots of use of your average thrash metal drum beats and there's a lot of use of doubles and triplets with the bass pedals. However, that doesn't take away from the music as it actually works extremely well with the ripping guitars and the very harsh vocals. I really like the vocals on this demo a lot because they make me think of bands like Demolition Hammer and Morbid Saint.

"Place of Torment" is definitely primitive and raw but it is definitely something that should be checked out. Extremely hidden gem. It's really too bad I can't buy this on vinyl anywhere though. So spread the word and show this fucking raw piece of art to your friends. Hopefully, they won't be disappointed. If you love bands like the two mentioned earlier (Demolition Hammer and Morbid Saint) or you just in general love yourself some savage thrash metal, this demo's for you.

Highlights

"Eminence of Terror"

"Coercion"

"The Burning"

Final Rating

Awesome [8.2/10]

Bolt Thrower - Realm of Chaos (Slaves to Darkness) [1989]

Take a look at that album cover. The new logo and awesome "Warhammer" artwork look nothing like the cover of the band's debut album, so one has to wonder if the band even sounds the same. Well, not really. Sometime after "In Battle There Is No Law!" was released, Bolt Thrower must have gone on a doom metal binge, because "Realm of Chaos (Slaves to Darkness)" is way heavier than the band's previous full-length. The sound here is a perfect bridge between the US death metal bands and the Swedish death metal bands (Who would later release their first full-lengths). Bolt Thrower didn't play at 200 mph and riddle their music with blast beats, nor did they possess a chainsaw guitar tone backed by d-beats. They had their own sound, and what a glorious sound it was. 

As mentioned earlier, Bolt Thrower decided to slow things down. They went from wicked fast riffs on "In Battle There Is No Law!" to some crushing, mid-paced madness on this record, and the transition was amazing. Every single track on this album has at least one riff or moment that will get the listener's headbanging, with "World Eater" being my choice for maximum whiplash. It isn't just the riffs that make this album though, but the groove that is created from the guitar tone and tempo. The tone isn't as thick as Entombed's, but it's plenty heavy and a lot more doomy. Simply put, if you don't find at least one instance where your head is bobbing uncontrollably, you are a false and may not entry. 

Bolt Thrower didn't completely abandon their inner speed junkie, but they effectively mixed the faster riffs with the slower ones and they did so flawlessly. "Through the Eye of Terror" and "Lost Souls Domain" are great examples of this. One minute you're enjoying the mid-paced mayhem and the next, Bolt Thrower decides to channel their inner Slayer and your neck will thank you later. 

There aren't any complaints that can really be made about this album. It's one of the heaviest albums ever recorded and has a great mix to please just about everyone. Now quit being a pansy and put on your big boy/gal pants, grab your preferred alcoholic beverage, put the album on and proceed to damage your neck. 

Highlights

"World Eater"

"Lost Souls Domain"

"Eternal War"

Final Rating

Masterpiece [9.2/10]