Ghost Story - The Image and the Reality (Demo) [1990]

The truth hurts. While so many undeserving acts receive recognition and pundits beyond belief, those whose fates are as tragic and fragmentary as Ghost Story becomes lost in the billowing wind. Fortunately, with the technological benefits ushered in by the 21st century, hunting down an obscure demo such as the Atlanta quartet's ''The Image and the Reality'' becomes a much easier task than to have acquired the demo by tape trading in the early 90's. Ghost Story and their second demo are significant for two reasons: not only does the sound existing within these five tracks possess the potential to champion most thrash or speed metal outings that were being put out by 1990, but the sound itself is quite unique, a stunning tribute to the power/speed/thrash traditions of the 80's that, without conspiring to move the genre's foundations in any manner, manages to become one of the most potent and memorable heavy metal demos of all time.

Yes, you heard it right, and the joke is on you if you're smirking behind your PC reading this, smiling at the laughable crudity of the cover art, because ''The Image and the Reality'' is fantastic. There is no tandem to quality here, since each track serves equal portions of ass-kickery, but I love that the band diverges from the linear thrashing simplicity or speed/thrash filth offered by so many of its peers, and a general feel of power metal here runs parallel to the well-forged arsenal of riffs, which are entirely memorable excursions into the wide fulfillment of the genre at large, and you're bound to hear anything from ''Rust In Peace'' era Megadeth to more progressively oriented speed/thrash a la Angent Steel, Toxik, Coroner and Watchtower to more obscure power/thrash acts from the early 90's like Mystik or Stygian. There is a certain hooking quality to the riffs that makes them both immensely entertaining and also slightly moving. ''I Won't Change'' is a good example, with a broad thrashing rhythm accentuating the verses and moodier breaks into ballad-esque arpeggios and melodic guitar solos. But the group also harnesses these chugging, looming that feels completely satisfying in terms of mood and sway, with pure wisps of clear power metal melody reminiscent of early Fates Warning crowning the remaining bits and pieces. Of course despite the marginal variants, Ghost Story's focus remains a furious dialect of speed and thrash metal, like the excellent verse of ''Repent'', full of twisting but uncomplicated riffs which sound like an awesome addendum that Dave Mustaine forgot to add to his first two Megadeth discs. At any rate, the rhythm section remains extremely tight and killer, with no frugality of headbanging material.

Rob Thompson's vocals here are part of what makes the demo so damn unique. A versatile detachment from the classic harsh Teutonic rasp, but retaining enough audibility, poignancy and an arousing timber to sound fresh, I'd say he sounds like a more controlled, gruffer Sean Killan, but all the same he can seamlessly weave into a different tone according to the undercurrent of guitars: granted, he doesn't feel like a majestic soaring banshee destined to bewilder a listener as on a classic like ''Think This'' or ''Control and Resistance'', but he still sounds almost immediately distinguishable than the umpteenth 80's thrash rehash I'd hear. For a demo, the production here, just like everything else, reigns supreme. Sure, you might need to raise the volume a tad before you can really hear the music, but the drums have a crisp tone to them and never perambulate in terms of volume as on an occasional demo recording; the guitars are copious but they never overfeed the mix; and the bass is surprisingly audible in a Steve Harrison kind of way, ballasting the metallic crevices of the guitars with some sweet, raw lines. In terms of instrumentation, Ghost Story sure dwell into a lot of 'contemplative' discourse riffing, more often than a regular thrash act, but the long moments are never dull as to cull boredom from the listener and they're smart enough to break off from the more melodic, moody instruments-only plateau just in time to cut into a fierce chorus or bridge. Every song is truly legendary here, within its minimal cult status: from the introductory arpeggios of ''I Won't Change'' to the irresistible chorus on ''Silent Masses'' to the unforgettable gap riff midway ''What Few Even Dare'' which has stayed with me ever since my first spin, ''The Image of the Reality'' is one of those rare recordings, which, assuming the shape of another abstruse obscurity, heightens to the level of a full-length, beating so many at their own game that it makes my flesh prickly just thinking about it. Truly, its only fault is its brevity and slightly cramped production that feels only natural. Otherwise, find this at all costs, and if you're a collector of heavy metal demos, you've already wasted your time reading this reviewer's fanboyish rant about it.

Highlights
''Sanity Web''
''What Few Even Dare''
''Silent Masses''

Final Rating
Masterpiece [9/10]

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]

Demolition Hammer - Tortured Existence [1990]

Bands like Exodus and Slayer wish they had the intensity that Demolition Hammer had on this record. This band might not have been nearly as big as the aforementioned bands, but they didn't lack any of the catchiness or violent energy to be at the top of the thrash scene; they just showed up too late. Around the time "Tortured Existence" hit the metal underground, a lot of thrash bands were already fading out or completely changing their sounds to appeal to a wider mainstream audience (hopping on the groove metal train or even going nu-metal), but not Demolition Hammer. This group could have hopped on the death metal bandwagon of the early '90s, but instead released some of the most savage thrash ever, right up there with bands like Kreator, Morbid Saint, Dark Angel and Sadus. 

Listening to these 9 tracks will almost guarantee a headbanging marathon. From the insane opener ".44 Caliber Brain Surgery" to the closing monster "Cataclysm," there will be several moments throughout that will make you want to awaken your inner neanderthal and fuck everything in sight up. ".44 Caliber Brain Surgery" and "Crippling Velocity" are definitely the two most violent songs on "Tortured Existence," as they effortlessly blend ferocious thrash riffage that is beyond fast with heavy, crushing passages for maximum chaos to ensue. In addition to being speed freaks, the band also provides plenty of music that simply destroys. "Neanderthal" and "Gelid Remains" feature stomping riffs that could be rated on the richter scale. The guitarists for this album also like to duel each other when it comes to the solos. Every song has plenty of back and forth solos that range from shredders to complete whammyfests, and they add just a little more awesome to each track. 

In addition to being varied with their guitar aesthetics, Demolition Hammer is much more than just a brutal thrash act, because their music is entirely memorable. "Infectious Hospital Waste" just might be one of the catchiest thrash songs ever recorded, and the breakdown of the song sends chills down my spine every single time. There are terrific gang (riot) vocals throughout this album, and the listener can't help but shout along with them because they're that damn catchy. Vinny Daze's stellar performance behind the kit also propelled this record's music to another plateau, as the drumming pushed the riffage and tempo far and beyond at points. In addition to providing some decimating vocals, Steve Reynolds also brings some low-end heaviness with his bass playing. The bass tone is thick and monstrous, making its presence felt all the time; "Paracidal Epitaph" and "Cataclysm" both feature some great playing from the brilliant frontman. "Tortured Existence" is definitely one of the most violent thrash albums to ever be released and is a record that I can always come back to and enjoy time and time again. There aren't many thrash albums that I prefer to this one and very few top it, and surprisingly the band would top it with their next skull-fracturing release. 

Highlights

".44 Caliber Brain Surgery"

"Crippling Velocity"

"Infectious Hospital Waste"

Final Rating

Legendary [10/10]

Benediction - Subconscious Terror [1990]

This is an album that has been quite hard to fully enjoy for myself. The first time I listened to it, I thought it was entirely mediocre and I’m amazed that I gave the sophomore a chance. Still, a few listens later and it didn’t really grow on me, but I did start notice subtle little parts of the music that made the whole better. “Subconscious Terror” is not my new favorite death metal album, nor is it anywhere close, but I do appreciate it more. Benediction’s approach to death metal on this record isn’t entirely groundbreaking as they resemble a good deal of the Swedish bands, though without the chainsaw tone, but they do have bits and pieces of other notable acts like Autopsy and Bolt Thrower present in their music. 

Benediction’s formula for writing songs on this record didn’t provide much variation as a majority of the riffage throughout “Subconscious Terror” consists of plodding to midpaced chord progressions, mixed with your typical tremolo passages. The title track, “Divine Ultimatum” and “Spit Forth the Dead” all follow the same precedent well enough to get the listener’s head banging, but there isn’t much accomplished as far as creating some memorable music. “Eternal Eclipse” is one of the better tracks of the bunch, simply because it reeks of Autopsy influence. The riffs and atmosphere may not be as brooding, but they definitely sound similar in structure, and the incredible drumming performance reminds one of the phenomenal Chris Reifert. 

Barney’s vocals aren’t entirely impressive on this album (he definitely would shine with his later band, though), they were just there, really. His low growls fronted the riff-driven music well enough, but he didn’t take the overall sound over the top like other vocalists of the times. The rhythm section on this album was very significant in the sound. The bass added some heaviness to the music and had a couple fills here and there, while Ian Treacy’s drumming performance was stellar to say the least. He had plenty of terrific moments (intro to “Eternal Eclipse” especially), but it was just a solid performance displayed throughout that made his drumming that good. The fills, d-beats, double-bass sections and everything else was spot on. Benediction definitely would go on to create some vastly improved death metal, but “Subconscious Terror” isn’t a terrible way to start off your career, as it has its moments. It just may take a while for it to click…

Highlights

“Artefacted Irreligion”

“Eternal Eclipse”

“Experimental Stage”

Final Rating

Mediocre [7.8/10]

Outlander - Beckoning [1990] (Demo)

By 1990 all the elements of power metal had been stabilized, and all the classics were already released, rendering the huge portion of upcoming power metal bands unoriginal and derivative. Well, gimmicks certainly didn’t stop the majority of power metal bands from bringing forth their own material, and USPM obscures Outlander were yet another group lost in the hazy vortex of time, flushed back into the pitch black bowels of shadowy obscurity. Outlander’s excursion of classic USPM metal is surely just another predictable splash in the face of a USPM veteran, but the their sole demo and release defines the old school power metal sound as we know it, elegantly engrossing the simply set, classic textures with the band’s own touch, and representing power metal in a way that could be separated both from its cumulative peers and the later-coming wave of modernized freaks that always kept their power metal at busier stance.

Outlander’s ‘’Beckoning’’ is nearly magical. It’s epic and captures the perfect soothing atmosphere within mere seconds, slathers it with some sombre overtones, and presents the ultimate eighteen minute endowment for a USPM fan. Outlander keeps the riffs fairly arduous and confusing, frequently delivering tasty rays of haunting melodies and catchy mid paced riffs. All the works go alongside each other consistently sans and exciting spice to cheer you up, constantly preserving the well-earned darkness of its nature, especially culminating in the delicate clean guitar/melody fusion, ‘’Coma’’. The demo is dynamic, though, but it simply isn’t keen on keeping the joyful and ecstatic mood of power metal, yet another reason it manages to outshine many of its peers.  The extreme ecstasy is palpable in the extra melodious segments however, and with the soaring screams of the vocalist, the atmosphere alternates into a dark, haunting aura.

Even the thrashy riffs which don’t feel like anything out of the ordinary are surprisingly furious, lively and spiking, although I must still say that the demo has no instant ruptures, only riffs that progress with a continuous manner, slowly, incessantly ascending and descending into various riffs, rather than abruptly flashing into one riff to another. The ascensions and descents are exceedingly well done, and one of the great part of the album, the slow fluctuation is formed. With all of its traits, ‘’Beckoning’’ proves to be an excellent release, and an even better demo. It surpasses its imprisoning limits and reaches to a point where it naturally enlarges. It’s a shame that it’s the only release of the band, but sad things happen, and when they do we must learn to cherish what we hold as precious. Like this demo.

Highlights

''Coma''

''Final Day''

''The Beckoning''

Final Rating

Awesome [8.5/10]

Halloween - Vicious Demo [1990]

After releasing their well-accepted debut record "Don't Metal With Evil" in 1985, Halloween wouldn't release anything new for five years. That new release was this five-track demo entitled "Vicious Demo." The title of the demo is a little misleading because Halloween plays some catchy heavy metal, but I would never describe it as vicious. Once you get past that, though, there is some top-notch music to be found throughout this 20 minute demo from the Detroit headbangers. 

The first song on here is "I Confess" which is definitely the standout on "Vicious Demo." The riffage is solid, but the vocals and guitar solos really take this track over the top. The chorus is incredibly catchy and it's sure to be burn inside the listener's head (even if it is kind of a love song). Next up is "Vicious Lies," which actually lives up to the title as it's the most vicious song on here (it's still not very vicious). The midpaced riffs throughout are heavy and the faster moments are terrific too. "Evil Nation" is easily the weakest song on the demo, but the next track "Agony" more than makes it up for it with some fantastic vocals that soar over the top with higher pitch yells, as well as some beautiful singing done in the chorus which has some brilliant riffs. "Black Skies" is a more epic song with its cool buildup that features stellar lead work that ends with some catchy riffs and more general awesome from Halloween. The main strengths of "Vicious Demo" are absolutely the vocals and guitarwork and that's why these songs are as good as they are. Not to knock the rhythm section of the band, but the overall product wasn't taken to another plateau or made worse by them either. If you're a fan of heavy metal, then Halloween and this demo deserve your time and if you're not a fan of heavy metal, leave the hall!

Highlights

"I Confess" 

"Vicious Lies"

"Agony"

Final Rating

Awesome [8.4/10]

Grotesque - Incantation [1990] (EP)

Chances are, if you're a metalhead who knows at the very least that Sweden had/has an incredible death metal scene, then I don't need to go on about all of the bands and how there were myriads of fantastic bands that never got past the demo stage. Grotesque is one of those unfortunate casualties, as they have never released a full-length, but luckily they've left us with this terrific five-track EP "Incantation." Whether or not this EP is considered widely influential in the metal underground is beyond me, but I definitely hear a lot of the newer groups out today with plenty of Grotesque in their music (Tribulation, Zombiefication, Putrified, etc), so it's definitely within the realm of possibility, especially when considering that these Swedes didn't exactly have the same d-beat/punk influence, nor did they have the chainsaw tone (though, it was still a pretty thick and heavy tone) that their comrades had, and a lot of the music here was driven by the insane riffs and intense drumming, more akin to the American style. 

The self-titled opening track features plenty of different styles in the opening minutes, featuring some dark melodies, tremolos, and some thrashy riffs to get the listener's headbanging. The rest of the song follows suit, with an abundance of different riffs and some great vocals which are another highlight on "Incantation." I may not be the biggest fan of At the Gates (Or the subgenre that they play), but there is no denying that Tomas Lindberg (Or as he's known in Grotesque, Goatspell) can conjure some vile vocals that are absolutely perfect for fronting a band the caliber of Grotesque. What transpired on the first track is pretty much the entire story of this EP. The band did a brilliant job of structuring the music with a solid mix of thrashy riffs, death metal tremolos, melodies and an overall eerie atmosphere. "Submit to Death" and "Blood Runs from the Altar" are a couple of the more thrash-oriented tunes, but they're fronted by a death metal vocalist whose vocals could shatter glass. "Spawn of Azathoth" is an all-out blitzkrieg of intensity and if your head isn't banging, seek help. "Nocturnal Blasphemies" is probably the most "unique" song on this EP, as it features some riffs that have glimpses of technical patterns, but it's also one of, if not the darkest song here. So, the story here with "Incantation" and Grotesque isn't a new one, just one that I enjoy revisiting, because who doesn't love a little band that didn't make it as big as they should have? I know I do. 

Highlights

"Incantation"

"Spawn of Azathoth" 

"Blood Runs from the Altars"

Final Rating

Awesome [8.6/10]

Artillery - By Inheritance [1990]

Technical music has never been my favorite cup of tea. Anytime there is a technical (or progressive as both are pretty interchangeable) tag added to a type of music it automatically turns me off from checking out the music, but there are quite a few bands out there who have done it right. Coroner, Demilich, Deathrow, Gorguts, Heathen and few other notable names are ones that I've come to love because of their ability to create memorable music that isn't just a bunch of guitar tech-wankery, but none of those bands created the kind of sound that Artillery did on "By Inheritance." In fact, no other band could hold a candle to the Danish masters' gift of blending technical magnificence with melody, thrashing riffs, insane vocals, clean and acoustic guitar passages and everything else that makes this record the flawless masterpiece that it is. 

The main reason for the absolute brilliance of "By Inheritance" stems from the impeccable guitar duo of the Stutzer brothers. Saying that every song on here has great riffs would be a massive understatement, because there are riffs on every track that are to die for. The intro riff to "Khomaniac" is fucking legendary and highly memorable, plus the riffs later on in the song are just as tremendous (one of the reasons why this is one of my favorite thrash tunes of all time). "Beneath the Clay (RIP)" features stellar riffs that rival those created by the man himself, Megadave, as the guitars' rhythms blaze by with a rapid fury of ever-changing notes and frets. But it isn't just the thrashing riffs, it's also the Stutzers' ability to weave clean guitar melodies and passages in and out of the thrashing mayhem effortlessly, creating an opera of incredible metal music that seemingly never ceases. The title track is the perfect example of Artillery's signature sound and the remarkable chorus is an essential for any metalhead. "Don't Believe" is another track that captures the beauty of the acoustic sections and the frenzy of the distorted guitars nicely for another classic, though that shouldn't surprise anyone by now. 

Seriously, this record could have been an instant classic due to the riffs and other guitar parts alone, but Flemming Ronsdorf and the rest of the band stepped their game up just as much. The drumming isn't amazing in every song, but the intro to "Beneath the Clay (RIP)" is unforgettable and the fills on "Life in Bondage" are worthy of some praise as well. Thorslund's performance on the bass isn't mindblowing like the Stutzers', but there aren't any negatives to his playing either. Ronsdorf's vocals are almost as much of a highlight reel as the guitars, as he can do it all. He was found clean singing (and quite well) on "Don't Believe," hitting high falsettos on "Beneath the Clay (RIP)" and shouting his fucking lungs out on "Bombfood," which is one of the key reasons as to why that song has arguably one of the catchiest choruses ever heard. "By Inheritance" is basically the answer to the question "What more do I need in life?" Because you're not really living until you've heard this record. 

Highlights

"Khomaniac"

"By Inheritance"

"Bomb Food"

Final Rating

Legendary and Beyond [10/10]

Blasphemy – Fallen Angel of Doom… [1990]

Blasphemy is one of Canada’s most legendary bands, and one of the most influential and important black/death metal bands of all time. Formed in 1984, the band have unfortunately only ever put out four releases; their first demo “Blood Upon the Alter”, their debut full length “Fallen Angel of Doom…”, sophomore album “Gods of War” and a live album, each one a cut above the rest in terms of barbaric savagery. Right now, I’m going to ramble on about their amazing debut album…

Before going on, I will issue a warning: If you can’t handle raw and primitive black metal fueled by a healthy dose of death metal, extreme power and pure hatred, stop reading now. “FAOD” is by far one of the most primitive and extreme sounding records of all time, and it’s not for the faint of heart. To a lot of listeners, this album WILL sound like mush, due to the low-budget production job, but after spending some time with it you’ll begin to notice little details such as the bass heavy guitar tone, the pounding drum work, some of the sickest and most hateful vocals ever and the killer solos spread between some really interesting yet still primitive as fuck riffs. These songs are clearly the product of an eerie obsession with Sarcófago’s “I.N.R.I.”, the first Possessed album, mid-80’s Sodom and early Bathory. 

It’s impossible to deny the influence of such a great record. Songs like the title track, “Desecration”, the often covered “Ritual”, “Demoniac” and “Goddess of Perversity” really speak for themselves and there’s not much more to be said about “Fallen Angel of Doom…” except that it really is a must hear for a serious underground black or death metal fan and quite possibly the greatest extreme metal album of all time.

Highlights:
Ritual
Demoniac
Goddess of Perversity

Final Rating:
Legenadary 10.0/10

Nuclear Death - Bride of Insect [1990]

You know that whole "Don't judge a book by its cover" cliche? Well, if you were to judge this album by its cover back in 1990 before we had the benefit of the internet (and Metal-Archives), would you take these guys seriously? That cover is extremely cheesy (I mean that in a good way) and is a perfect reflection of Nuclear Death's music. The songs on "Bride of Insect" are all pretty similar and if you're a fan of grindcore and/or the more bestial black metal bands like Conqueror, Bestial Warlust, Von, etc, then this album should be a fun one. 

There isn't anything out of the ordinary here, just 12 songs that were made to break necks and shatter skulls. The riffs here, for the most part, are relatively incoherent as they're masked by the insane drumming, but when the drummer isn't taking his ADD-riddled rage out on his kit, riffs like the sweet one in "Necrobestiality" and the one at the beginning of "Stygian Tranquility" show that Nuclear Death is capable of weaving in some catchy riffs in between the absolute chaos of the rest of the music. Lori Bravo's vocal performance is a definite highlight here, as he sounds like a cross between Sean Killian and Don Doty (Two of the craziest vocalists that define that over the top sound) only a lot more aggressive and at times just downright vicious. The bass playing is also top-notch as it is audible during the moments of the music that isn't being berated with blast beats, and provides some nice fills. 

As I said before, every song here pretty much follows the same patterns and they all mesh together to make "Bride of Insect" a highly enjoyable listen, though the track "Fetal Lament: Homesick" does serve as the outlier of the album as it conjures up a sinister feel with its chilling clean intro and darker riffs later on. Overall, any fan of grindcore or just all around spastic and crazy music should have no problem welcoming Nuclear Death and their horrifically tacky artwork into their collection. 

Highlights

"Necrobestiality"

"Stygian Tranquility"

"Fetal Lament: Homesick"

Final Rating

Awesome [8.6/10]

Massacra - Final Holocaust [1990]

Coming from France, Massacra started off with a few demos before they finally released "Final Holocaust" in 1990. As the bigger thrash bands of the '80s began to go for a much less thrash sound, Massacra did the exact opposite. They wrote some of the most intense and vicious thrash to date. With insanely fast riffs, brutal drumming and crushing vocals, Massacra was ready to create a huge name for themselves in the metal underground. 

The best parts of the music on "Final Holocaust" are definitely the riffs. The blazing fast riffs aren't only amazing because of their speed, but they are extremely catchy. The first riff after the intro sound bite on "Apocalyptic Warriors" is impossible to not headbang to, but the riff after the verse of the song is even catchier. There are also some great death metal style riffs to be found as well. The main riff of "Trained to Kill," features the fast tremolo picking utilized by death metal bands since the dawn of the genre. You mix that death metal style riff with some great thrash riffs, and you have a recipe for greatness. Massacra also shows off their ability to create some great mid-paced monsters like on "The Day of Massacra." There's plenty of everything. Speed, aggression, and heaviness. What more could you want?

The fast paced drumming is also a plus on the album. Some of the riffs are more mid-paced, but when layered with the tight and swift drum section, the music seems faster and heavier, while the listener headbangs along until the whiplash sets in. Along with the drums, there are the vocals, capable of destroying small animals, they are so powerful. "Researchers of Tortures," has some of the catchiest verses and choruses on the album, due to the perfect sound made when Jorgensen's vocals synchronize with the brutal music behind them.

Overall, there are no complaints that can be made about this masterpiece. Massacra blends the best of death metal and thrash on "Final Holocaust" flawlessly, and it shows. So, if you have not yet experienced the brilliance of France's finest, Massacra, then you need to remedy that ASAP. After you have listened to this, it will eventually become a constant staple of your regular listening, and eventually will be talked about with albums such as "The Awakening" or "Dreaming With the Dead."

Highlights

"Apocalyptic Warriors"

"The Day of Massacra"

"Researchers of Tortures"

Final Rating

Masterpiece [9.4/10]

Pungent Stench - For God Your Soul... For Me Your Flesh [1990]

1990 was a year where death metal really started to blossom around the world. Bands like Entombed and Carnage released their debut full-lengths (which would later go on to be some of the most respected albums of the entire genre) and soon to be giants of the genre Deicide and Cannibal Corpse would also release their first albums. But what about little ol' Pungent Stench from Austria? Their debut "For God Your Soul... For Me Your Flesh" is a really fun mix of death metal and early grindcore, basically sounding like a cross between Obituary and Terrorizer. 

The vocals are almost identical to John Tardy's, but that's not the only reason this band could be compared to Obituary. Some of the more thrash-oriented riffs, as well as the doomy chords reek of "Slowly We Rot" influence, the title track in particular. The opening chords are heavy and have that doomy feel, the midpaced riffs masked by the incoherent growls of the vocalist and the whammy fest all sound like they could find a home on an Obituary record. The Terrorizer influence comes from the very catchy midpaced riffs that are made to wreck your neck. In place of a typical death metal tremolo section, amazing midpaced riffs are to be found instead like on the track "Just Let Me Rot" as well as the awesome riffs in the song "Pungent Stench." Seriously, if you can't hear the resemblance between some of those riffs and the midpaced monsters from "World Downfall," then you need to seek psychiatric help. 

One thing about Pungent Stench that is really intriguing is the lack of any kind of melody or technical proficiency. This album is just raw and aggressive, but at the same time highly memorable. The simplicity of songs like "A Small Lunch" and "Blood, Pus and Gastric Juice" are perfect reminders as to why primitive, early death metal is indeed the best way to make this kind of music. Both songs feature a great mix of the slower and near sludge sounding chords and riffs with some brilliant heavy riffs, while also giving the bassist a chance to show off his skills and add some serious low end heaviness. 

While "For God Your Soul... For Me Your Flesh" may not be the greatest death metal album ever, or even the year that it was released, it is still a quality listen that any fan of filthy music could enjoy. 

Highlights

"Just Let Me Rot"

"Pungent Stench" 

"A Small Lunch"

Final Rating

Awesome [8.6/10]

Ritual Sacrifice - The Inhuman Race (Demo) [1990]

If you think that thrash died in the nineties, then you really need to look harder. There may not have been as many awesome releases as there were in the eighties, but there was a lot of quality stuff, and this demo is proof of that. Ritual Sacrifice would later go on to produce some metal that gravitated more towards death metal and grindcore, but on "The Inhuman Race," the thrash that they created is some top-notch, intense music that is severely under appreciated. 

The seeds for Ritual Sacrifice's death/grind evolution were firmly planted here, although very subtly, but it worked out fantastically. The drumming on this record is excellent. The fast-paced assault here reminds the listener of Cryptic Slaughter a bit and gives the band a kind of crossover/grind feel. There are also some great fills present throughout, and it's just little nuances like this that make this demo and the music much better. The bass also shines at times with some very cool little doodles and solo parts. The vocals here are also stellar. They're more aggressive than your average thrash vocalist, but they're not full on death metal vocals or even death/thrash vocals for that matter, but they suit the music perfectly. Another notable part pertaining to vocals, are the awesome gang shouts during the choruses. They're just eargasmic. 

The real meat of this demo though, comes from the riffs. The riffs here are catchier than the flu in a hospital. The midpaced riffs are guaranteed headbangers and the faster riffs can eviscerate an entire venue, especially when backed by those explosive drums. The intro riff on "Illusions of Sanity" is about as headbang-friendly as a riff can get and the thrashing assault on "This is Your God" could rival tunes by much more known bands such as Exodus or Anthrax. 

There really isn't much more to say about this demo. It's some straightforward, no bullshit kind of thrash that is meant to wreck your neck. If you haven't had the pleasure of listening to this demo before, then you have to remedy that situation immediately.

Highlights

"This is Your God"

"Illusions of Sanity"

"Day of Retribution"

Final Rating

Awesome [8.7/10]

Master - Master [1990]

If you notice, the title says "1990," yet the songs on this record were all recorded earlier on demos in 1985. That's two years after the spawn of thrash and the same year that Possessed's "Seven Churches" was released, an album that is widely cited as the first death metal album. While Master's debut album is very thrash-oriented, it is indeed a death metal album, similar to Malevolent Creation or Death on "Scream Bloody Gore." A very thrashy death metal band, but more on the death metal side. 

The sound here is pretty simple. Just cutthroat and aggressive death metal with some thrash tendencies. It's basically what Sepultura would sound like if they were actually a death metal band like many people claim (Those people need their head checked, I might add). The riffs range from heavy riffs full of some of the best powerchord combinations out there to fast thrashy riffs. All of these riffs are placed perfectly throughout the record, never leaving the listener with a boring moment. Just take a listen to the title track or "Pay to Die" and it will all become clear. The drumming on this record is also top-notch work. Nothing overly fancy but the speed and timing is perfect, plus there are some places where the drums add some heaviness or speed at just the right time ("Mangled Dehumanization" and "Funeral Bitch"). Paul Speckmann's vocals are also a great touch to the music. They're the perfect cross between the more aggressive thrash vocalists (think the Teutonic bands) and your typical death metal vocalist, which reflects the overall music quite well.

Simply put, this is one of the most underrated and overlooked death metal albums out there. If someone were to ask about the best American death metal albums, chances are you wouldn't hear them say "Master," but instead the usual "Altars of Madness," "Leprosy" or "Tomb of the Mutilated." While those are all great albums, this album is just as good, if not better. So don't be a wanker, check these guys out if you haven't already. 

Highlights

"Unknown Soldier"

"Funeral Bitch"

"Master"

Final Rating

Masterpiece [9.5/10]

Exhumed (SWE) - Obscurity (Demo) [1990]

Oh, the wonderful Swedish death metal scene of the nineties. This is quite possibly the greatest scene of all time. Just about every death metal band from there kicked severe amounts of ass, whether it was the giants like Entombed, Grave, Dismember, Unleashed, etc or if it were the bands making a name for themselves in the underground through their awesome demos like Desultory, Excruciate, Edge of Sanity, or the subject of today's entry, Exhumed. Normally when people think of death metal demos from Sweden, it's the usual suspects like Nihilist and Nirvana 2002 who both had legendary demo collections that were highly influential, but Exhumed's "Obscurity" demo is quite magnificent as well, yet it remains a hidden gem. 

For those of you who know about this band and have had the pleasure of hearing this demo, you know just how great it is. The sound is extremely raw and primitive, but is there really a better way to create old school Swedeath? The guitar tone is thick, heavy and dirty which makes each mid-paced riff that much more awesome. It also makes the tremolo riffs found on "Obscurity" seem heavier than your typical death metal tremolo burst. The tone of the guitars is also highlighted during the more melodic moments, especially the ending of "Satanic Verses" which features a great melodic passage that has that eerie, yet beautiful sound to it that those Swedish bastards are famous for. Exhumed also shows that they're not afraid to go faster than the average Swedeath band, especially on the opening track "Obscure Desolation." If you cannot headbang to the riffs in this song then you shouldn't be listening to metal. 

While not as legendary as the Nihilist demos, "Obscurity" is a brilliant piece of Swedish death metal history that everyone needs to take notice of. Oh, and stay away from the later stuff the band does as Morpheus, because you will be extremely disappointed after hearing this. 

Highlights

"Obscure Desolation"

"Satanic Verses"

"What Life Has Brought"

Final Rating

Awesome [8.7/10]