By contresens
It is no secret that Thrash Metal is back again. Not only a plethora of new quality bands work hard to perpetuate the OLD values of thrash metal, sometimes even to the point that they choose their names to prove their devotion (Bonded By Blood, Mercyless Death…), but veterans come back too with their worn out faces, dirty and wrinkled, via breathtaking albums (Exodus among others). Temporary trend or lasting movement? One thing for certain, the older thrash metal fans, those who sailed the treacherous seas of the nineties have not lost this fiery passion for the genre. They are living evidence that devotion to thrash metal is all but frivolous and fleeting. Let us bet that the newer fans, far from being the least enthusiasts and connoisseurs by the way, Will make sure that thrash metal and its eternal values still have a bright future ahead. Just as we did it for Death Metal, we now give you our 15 timeless thrash metal classics. The task wasn’t easier, the debates less passionate; and likewiese you’re invited to comment the result as much as you want. I believe we owe you a few clarifications: first of all, the selection only accounts for the first period of the genre, Machine Head’s ‘Burn My Eyes’ is only stated here to become the catwalk between the two decades, also bear in mind that this is the outcome from a band of thrashheads who discovered the genre in the 80’s. You Will not find either atypical albums which encompass more than just Thrash Metal and which Will celebrated in their own time (Possessed’s Seven Churches, Celtic Frost’s Morbid Tales). Now everythin’s clear, I’m going to let you train and warm up that neck of yours and Dive in the very selection. As always, your comments are welcomed…
Thrash metal rules…
Eulmatt
Annihilator - Never, Neverland
I can already hear you cry foul: just how could they not choose Alice In Hell, their first milestone-setting album? The Answer is simply because Never, Neverland, the second release of the Canadian Act and its mentor the most genial Jeff Waters, is just their most successfully achieved. From the first notes of “The Fun Palace”, Annihilator give us precise sharp riffs, like a scalpel blade that would and could perform appendicitis surgery on ants. Diversity is a keyword for all this record, the combo sometimes gives us furious tracks like “Stonewall” or “Kraft Dinner”, sometimes highly technical tracks like “Road to Ruin” and “Sixes and Sevens”. Coburn Pharr, lead vocals on this second record (in an ever perpetual line-up), demonstrates all his vocal range. In perfect Symbiosis with each and every composition, his Voice can sometimes be scowling and warm, sometimes Aggressive and melodic. And what of the virtuoso solos, Winged at Will, what of the track “Phantasmagoria” – a classic, fans expect Will be played Live (just like “Alice in Hell”) –, if only that’s plain brilliant? The album ends as it began with the shrew-like “I Am in Command”. Everything comes full circle. Soon with 20 years of existence on the clock, Annihilator are still alive and kicking and remain essential to thrash metal. Thank you very much, Sir Waters.
Anthrax – Among The Living
The thrash metal pillar from the East Coast – following a promising but still a bit Shy Spreading The Disease – finally succeeds, in the year 1987, to confirm its potential. Where their historical brothers in arms, Metallica, Slayer and Exodus have already released their own cornerstones to the dashing edifice of Thrash Metal, Among The Living sets in stone Anthrax’ already typical style. It took the SOD project (Speak English Or Die) for Scott and his crew to deliver the incredible power and energy of their hardcore influence thrash metal. Now the herald of a less hermetical thrash metal fork and more inclined to deal with political and societal themes, Anthrax set their own tracks with a conviction. Home of the combo’s most legendary tracks, the album is full of great riffs, of explosive mosh parts and breathtaking accelerations. At this level, “Caught In A Mosh”, “I Am The Law”, “Indians”… have definitely reached the status of headbanging orgy; the album displays remarkable freshness and density. Anthrax are at their very best, finding the perfect equilibrium between crushing power, swiftness in carrying out, tempo management and catchy melodies and choruses. This is where the band built up its own legend and the best cuts of this release can still be enjoyed in the New York quintet’s explosive shows, where their bursting music comes in full circle. They’ll never touch again this suddenness nor this creativity making Among The Living a definitive record in thrash crossover.
Dark Angel – Darkness Descends
There are some controversial albums out there. There is quite a number of die-hard fans that believe that Dark Angel is an overrated band that usurps its reputation when others praise to the skies the California combo’s musical superiority. For us Troublemakers, controversy did not arise and Darkness Descends won hands down the right to enter our selection. And what could be more normal. Alike Ultra Violence, the riffs’ violence is always paroxysmal, always faster, so as to remind us that at this time « speed metal » was not some futile expression. Forget those acoustic ballads a la Testament or Acid Reign, forget the subtlety of Metallica or Annihilator: this album is home to decibels whose goal is leave restless the listeners. The most often seen complaint about this record is certainly its ‘false’ linearity; most likely because tracks leave the listener breathless and worn out thanks to the constant attacks on our eardrums which, as soon as the eponymous track beings, are put to severe test. I
believe I may say: quite on the contrary. It’s actually what makes the record’s seven tracks so essential for extreme music die-hard fans. We could even compare Darkness Descends to Reign In Blood because,without a doubt, there are some similitudes when it comes to violence and intensity. Nonetheless, songwriting is often of higher quality on this release (”Mercyless Death” or “Black Prophecies”) and all musicians peak at their very best, Hoglan and Doty leading the march, bringing their contribution to the work. A thrash metal monument. The essence of thrash metal concentrated in 35 minutes of pure rage.
Death Angel – The Ultra Violence
In a way, the Californians of Philippine heritage are the icons of the second thrash metal generation. Bred up with the thrash metal of the masters, forever worshiping Exodus and Metallica, these talented youths prove their passionate devotion via their fisrt release. The Ultra Violence is a fiery plebiscite for Thrash Metal, in which Death Angel seek to set the world on fire. And if this approach, relatively naïve but for sure endearing, could make one smile, the quality of the outcome is impressive and commands respect. The band’s technical mastery, its neverending inspiration (Death Angel is a riff factory) and the singer’s charisma will disperse the last remaining interrogations: this new generation has all what it takes to be at the forefronts of a thrash metal scene at the height of its popularity. Listening to the eponymous track over ten minutes – an incredible frenzy of riffs, accelerations, breaks and utterly creative solos –, it’s not hard to understand that this passion is rather disproportionate. This blazing outburst, beyond understanding, gave the shivers to generations of Thrash Metal fans, and I would bet my house on the fact that such a phenomenon will last for quite a while. This is why The Ultra Violence stands out like some historical legacy, still proving the impact it had when it was first released. Indeed, the California-based band became all the sudden – together with Testament – the new Bay Area leaders, an incarnation of a beaming form of eternal Thrash Metal, technical and elaborate.
Exodus - Bonded By Blood
Any self-respecting thrash metal fan should know the classic “Bonded by Blood”, Exodus’ first recording, a pioneering band of the thrash metal scene made in Bay Area (a lad named Kirk Hammet even played within their ranks before joining what was then a small local band: Metallica). From the start, Gary Holt (founding member and today the sole survivor of the original line-up) and his crew swing at us the track “Bonded By Blood”, uncompromising thrash metal where hearty rhythmics attack us relentlessly – thanks to the insane pounding of Tom Hunting! Whether on Exodus, where the missed Paul Ballof (R.I.P) screams all his rage, or on “A Lesson Violence” and its killing chorus – definitive and archetypal tracks that give the shudders when played live –, the band catapults pure balls of fire combining together ultra heavy riffing and fast-paced movements. Hence, the track Piranah, on which both guitarists offer us a final and most beautiful duel, not to omit the killer No love; concluding their act by Strike of The Beast just as deadly as the Undertaker’s French strike. Though the band kept on releasing fine albums (including notably “Fabulous Disaster”) with Steve Souza as lead singer, it is with their latest release, “The Atrocity Exhibition”, and its providential singer Rob Dukes, that Exodus finally gave us “Bonded by Blood”’s worthy successor, essential works of the ATOMIC BAY AREA scene.
Flotsam And Jetsam - Doomsday For The Deceiver
Flotsam And Jetsam have never been as famous as their counterparts Exodus, Slayer or Kreator; nonetheless I believe you’ve already heard of the name. Flotsam And Jetsam’s first bass player, who later joined the ranks of Metallica on And Justice For All, is indeed Jason Newsted. Doomsday For The Deceiver (1986) is not, however, the album of a single man and we will see that the final outcome is largely due to the teamwork of five gifted musicians. Their style is not necessarily very brutal in form but rather fast-paced and elaborate thanks to guitars’ constant performance with the Edward Carlson/Michael Gilbert duo. I must mention that with the addition of Eric A .K., Flotsam And Jetsam have for them an exceptional singer whose style is not so much aggressive as it powerful, melodious and varied able to reach effortlessly high pitches. On the track Doomsday For The Deceiver, a 9 minutes-long and epic song, all the musicians set the world on fire with their talent: acoustic intro, warlike/ heroic fantasy lyrics, catchy chorus, elaborate riffs and brilliant vocals all along. With this first release, Flotsam And Jetsam have already given birth to a masterpiece, a Thrash metal album which though it is not as brutal as Reign In Blood, as wild as Tapping The Vein, has nonetheless its own personality. There you can find an ubiquitous sens of melody that more recent Thrash metal bands desperately lack. If you ruled out Doomsday For The Deceiver in the past, do not make the same mistake all over again and get your hands on it as soon as possible to make up for lost time.
Kreator - Pleasure To Kill
Following the gigantic Endless Pain, released in 1985 on Noise Records, Kreator come back a year later with what should earn the title: « Monument Of Thrash Metal». Yes, you’ve heard me. Pleasure To Kill will, indeed, definitely put Kreator among the greatest bands of the mucical genre. Released the same year that saw Slayer’s Reign In Blood de Slayer or even Metallica’s Master Of Puppets, getting acknowledge with this record was no piece of cake. Yet, the Germans’ high energy thrash metal supports the comparison with its counterparts across the pond. But let’s get to the point. The album starts off with a somewhat nice intro with pretty melodies which are nonetheless birds of ill omen. Let’s bear in mind this is a Kreator recording! The uncontested masters of brutal Thrash Metal. Once the last notes of the introduction fade away, there won’t be no mistaking: the first impression is confirmed. Kind of like the calm before the storm. You get a first ‘in your face’ guitar riff; bass is rather put in the foreground shaking the walls while the drums are carried away in frantic blasting. When I first listened to this record, I told myself: what a fucking bomb?! It is seldom you may listen to thrash metal that perspires so much intensity. Especialy if you consider that Petrozza’s vocals are so extremely raw, alike black metal-like as it was then played. In other words, it’s played fast, it’s violent and it reeks of hatred all the way. Every single track is just excellent, even if I consider one to stand out above the others (I would even like to add it’s an all time favorite whatever the musical genre): there you go “The Pestilence”. Killer riffs that would scare off Slayer’s Kerry King de Slayer, blasting all the way down with threatening intensity; there Petrozza gives us the best of his vocal abilities. Oh well, this song is just filled with monumental parts and alone justifies the greatness of the album. Still like I’ve already mentioned, Pleasure To Kill is not just a great recording. It is a monument to the history of metal. A real gem which suffers no discussion among real metalheads. Attention! You must own this record!!!
Machine Head - Burn My Eyes
AD 1994, thrash metal is no longer at its apex. Death metal’s coming of age a few years ago just dealt it a severe blow and the musical genre has grown to sound a bit tacky thanks to bands like Morbid Angel, Pestilence and others. Death metal too is subject to its own backlash with an overabundance of bands – many of them quite uninteresting – and beings to lose the listeners’ interest. That’s exactly when Machine Head release Burn my Eyes that left many of us dumbfounded at that time. Indeed. Burn my Eyes is rather closer to what could be described as Power Thrash. All considerations aside, this album is the outcome of seasoned musicians: Adam Bunce plays the bass, Logan Mader the guitars, and the powerful Chris Kontos is on the drums. Add to this Colin Richardson as a producer and you have all the necessary ingredients required to make a bomb. The sound is plain gigantic and surpasses everything similar that was released until then, some kind of overpowered Pantera’s Far Beyond Driven (not talking just about production by the way). When it comes to music, Machine Head deliver a fatal blow and the riffing efficiency along with Rob Flynn’s extra-powerful vocals is pure delight. Power is definitely the keyword. Riffs reach an intensity without precedence (Davidian) and Chris Kontos make out the best of his double pedal – realizing this only takes listening to the final movements of None But My Own and especially of A Nation of Fire. Often with such milestones, the intensity remains the same and boredom is kept a bay thanks to the wide variety of the tracks. With Burn my Eyes, Machine Head presented their « new-school » Thrash metal to the world and the classics, Davidian, Old or The Rage to Overcome, have set new standards for many other bands that stepped in their tracks: Skinlab, Pissing Razors, etc. You’ll excuse if I’m not going to feed the usual controversy: « does this band really play thrash metal? » hell no, I think I’ll just put the record in my player again without even thinking about this and actually, I think everyone should be doing the same.
Megadeth - Rust In Peace
Brother will kill brother, thus starts Rust In Peace and it’s true that sometimes these very brothers – once brothers-in-arms – become enemies to each other. This is true of Dave Mustaine who got banished by the Four Horsemen and became the eternal black sheep for just about everyone. At that time, the band with the ’skull and crossbones’ mascot named Vic Rattlehead arguably supports the comparison with Metallica, which successively released two blockbusters with Master of puppets and And justice for all. It is time to strike back hard. And that’s exactly what happens with the release of Rust In Peace where compositions, solos and melodies gained an unprecedented intensity that So Far, So Good, So What lacked. Just consider all the instant classics like: Holy wars… The Punishment Due, THE classical hit, a legendary track stagging up religious fanatism. Hangar 18, a track essentially written to have a ‘guitaristic’ ball with its melodic riffs; its innumerable solos tapping in most ranges: melody, virtuosity, speed, most often arranged altogether. What then of Five Magics, its intro layered with hypnotic bass lines, its weeping guitars that suck the listener into some dark world. Who’s never been on a joyride along with other metalheads singing the chorus in unison « I master, Five Magics…. » and headbanging as if it were Wayne’s world? The awe-inspiring Tornado of souls is also filled with virtuoso solos and reinforced concrete-like rhythmics, all of this supported by the efficiency of the bass/drums section and yet perfectly matching guitars, Dave’s peculiar singing and nice backing vocals. Rust In Peace… Polaris is yet another timeless work that remains entangled in the memories of thrashers with its unmistakable intro, its unforgettable chorus you can enjoy four times, « Launch the polaris, the end doesn’t scare us, when will this cease, warheads will all Rust In Peace ! », its frantic ending, etc, etc. Un-for-gett-a-ble! I’m telling you! Dave Mustaine has finally turned the tables and though he will never become the best seller that Metallica became (though he did try, especially with Risk), he’s earned the respect of the metal scene with the release of Rust In Peace. These are long forgotten times where thrash metal was still king (though not for much longer). Ever since, death metal and black metal have arisen sowing the see of disruption but again let me advocate this record and please remember to play it from time to time. Eradication of Earth’s Population loves Polaris.
Metallica – Ride The Lightning
The band formed around Hetfield and Ulrich was yet the fastest to release the real first Thrash Metal album back in 1983, claiming from now on its will to remain number one. The legend however will only come full circle a few months later. For ever. Ride The Lightning, the famous record with the mythical blue cover, made dismal strides revolutionizing what was then still labeled as Speed Metal. This is here that Thrash Metal will take on its modern and definitive form while competition is still furbishing its weapons. Metallica are the most gifted and the greatest of all: the pioneers. This album is so dazzling and radical that no one will ever dare contest their supremacy for the forthcoming decade. From “Fight Fire With Fire”’s acoustic intro followed by riffs of unprecedented power,“Ride The Lightning”’s multi-faceted composition where inspired riffs, passionate solos, classicism and melodic elegance are all brilliantly interwoven to the epic “Fade To Black” becoming the first ever thrash metal the ballad and the now essential traditional instrumental track (”The Call Of Ctulu”), Metallica invent everything. Aside James Hetfield’s quite pale performance as lead singer, the mastery of the compositions and the quality in carrying this out leave all but speechless. Metallica’s music embodies some sort of perfection, from the smallest possible melodic aspect (thanks to a real heavy metal culture) to the overall concept of this recording in the form of a perfect 8-tracks template which will be subsequently applied to the next two albums. Ride The Lightning may be considered the real takeoff of a legend that will for many years bring devastation even beyond thrash metal.
Onslaught – The Force
The Thrash metal scene hailing from the UK has not always been a sparkling diamond. Quite the contrary. In a scene outrageously ruled by the United States Of A, Great-Britain could only count on a few pretenders in the likes of, among others, Acid Reign, Lawnmower Deth, or better still Onslaught. The latter have especially left a deep impression. Like many outfits that were born in the beginning of the 80’s in Treacherous Albion (sorry guys…), punk music still has a big influence and you can quite feel it, for better or for worse, on the Brits’ cumbersome first release: Power From Hell. Following some rather original line-up changes – notably with the arrival of a new singer – , Onslaught get rid of their punk-like reminiscences and fully embraces quality thrash speed metal. Aside The Force’s main qualities and obvious technical advancement, the band’s compositions gain more body – thanks especially to the addition of a second guitar: longer, continuing but not uninvinting riffs’ variety, ballsy breaks and then on top of it a real singer in the person of Sy Keeler, who master everything from shrewish vocals to lyrical flights a la Rob Halford, his fellow countryman. Lyrics are very much versed into satanism and related themes (and if you don’t believe me take a look at the pentagram on the album’s cover) which give an overall Hell Awaits / Show No Mercy touch. Above all, it’s much thanks to the diversity and the fullness of its compositions (with no particular order, the classic “Let There Be Death” or the much Overkill-like “Flame Of The Antichrist”) that, following its release in 1986, the album became an instant masterpiece, showing that not only the German scene could fight for the Big Four’s crown.
Sepultura - Beneath The Remains
In 1989, when Sepultura release their third record, times are fretful. The past Thrash Metal monsters, holding the scepter of extreme music, are far from realizing that they’re going to have to be through the wringer for the most part of the 90’s. For some two to three years, Death Metal comes cheeking at them in their fiefdom and steal many fans from them. It’s also a period where a lot of bands just can’t cope with this situation. Thrash metal or Death metal? Such a Cornelian choice will unfortunately harm most of the bands which will release either death thrash or thrash death records. When you can’t tell no more where to stand, you usually end up doing garbage, which is not to please a demanding audience. Sepultura win this challenge hands down. Associating the two genres brilliantly. To tell the truth, even today the debate is still going on. Is Beneath The Remains to be considered Death Metal or rather Thrash Metal? Such considerations have, thank God, very little interest if not to quibble and cavil for ever. The only answer is that Beneath The Remains was, is and always will be one the very best albums out there. Ambiguity is salutary. Morbid Visions and Schizophrenia, closer to thrash metal, foreshadow the success of Beneath The Remains. And, if we may, without being fearing too much discussion, argue that our Brazilian friends lean more on the thrash metal side than on the death metal side, Burns’ production (Atheist, Obituary or even Cynic to cite but a few) turn this impression inside out. Back then uncontested producer of the whole rising death metal scene, Burns gives this death metal touch to Sepultura; tracks sound clearer and deeper and are a perfect exemple of the a la Burns production. Moreover, you can’t help but recognize that Sir Cavalera’s voice, in between thrash metal and death metal, ends u winning the case. Whatever the feud between so-called experts, Sepultura engendered a masterpiece.
Slayer – Hell Awaits
You’ll often hear that Slayer’s second release is their most underrated. It’s right in the sense that most people often favor the hardliner and furious Reign In Blood, the worrisome slowness of South Of Heaven or the achieving Seasons In The Abyss often seen as the perfect synthesis. Knowing what a crucial role Slayer played for all the extreme music scene – death metal and black metal included –, we daresay that Hell Awaits is the California-based combo’s most essential recording. It sets new references for metal in anno domini 1985, together Possessed’s Seven Churches on this side of the ocean. Hell Awaits presents Slayer under a new light different from what the band traditionally stood for. Still the album possesses this ability of playing hard and fast with a heightened aggression, but its darker than dark atmosphere, most certainly their least accessible production, left an indelible mark on this record. Also worth mentioning, its structures are elaborate, bordering on the progressive side. From the acclaimed “Hell Awaits”, the concert opener, a slow cataclysmic climb to a peak of metallic frenzy, via the classical “Necrophiliac”, or the complex and fascinating “At Dawn They Sleep”, Hell Awaits is a plural, dark album full of untapped riches. There are some much atypical and captivating songs like “Kill Again” or “Crypts Of Eternity”, that, somehow, appear as genial inspirations of what is yet to come ahead in metal. Unique and so telling of Slayer’s abounding talent, it would be pure nonsense to stop at their most commercial releases and pass by Hell Awaits with the risk of denying oneself a real gem.
Sodom - Agent Orange
When Death Metal was grinding Thrash Metal down thanks to warheads like Obituary, Morbid Angel or Pestilence, a German band came to release surely one of greatest records in the history of Thrash Metal not to say Metal in its entirety. It’s obviously Sodom’s Agent Orange de Sodom released in 1989. There we go. I put the CD in the stereo, turn the volume on to max level and press Play. And there… it’s just no bullshit, the album takes off like a shot – some good greasy earcrushing thrash riffing. I can think of only one thing: headbanging. First observation: the band did not assuage and their music is still not for your dear auntie. It’s fast, violent and brilliantly carried out. Between the parts where they fuck everything up and the killer mosh parts that make you feel like smashing everything up, one can say that the band is rather a master of sonic destruction, something so dear to Thrash Metal. This album is violent from beginning to end without ever giving in in linearity which often deals borders on the impression of fucking boredom. This album’s atmosphere and the heaviness of some of the riffs even sometimes the singing leave on me a disrupting mark. There is something more than Thrash metal. Oh, shit, could that be, yes it must be! This little thing is just black metal’s fucking lingering odor. Some parts are really heinous, sometimes heavier than heavy. I think moslty of “Magic Dragon”, which weighs down the ambience with its heaviness and the peculiar tone of Tom Angel Ripper, the band’s bass player and lead singer. All the tracks are just terrible, all of them make me headbang. Though to be perfectly honest with you, a song really sticks out. “Tired & Red”. This track starts off hard, very hard. A massive blast along with a massive riff – nothing so special you’d reply. But then out of the blue, a most beautiful acoustic part invites itself. The kind of part that leaves me nostalgic because of its sadness and melancholy and leaves no one indifferent. Sodom thus gave birth to a true Thrash Metal masterpiece. All in all, you certainly got the point, this is a classic album combining together original thrash metal with some black metal parts reminiscent of Sarcofago or Vulcano. In 1989, Sodom left an indelible mark on the metal community showing that even with Death Metal at its apex, Thrash Metal was not dead. An essential album for all metalheads only if you want to risk depriving yourself of unprecedented sensations.
Vio-lence – Eternal Nightmare
Some icons end up being utterly forgotten. Invariably. Praised, hell!, worshiped when it was first released, Eternal Nightmare has become today only a sum of memories for those who once knew it. That’s quite hard to stomach for fans at the very outset to perceive that a record is eventually doomed to have an alpha and an omega and that nothing is ever eternal (except for the nightmare, hahaha). So it’s quite with an undisguised pleasure that we, gentlemen of good taste, bring back to you the good memories of Vio-lence’s first record: Eternal Nightmare. In my opinion, this album is the perfect sum of what should be thrash metal. Presumptuous? See for yourself. Vio-lence gives us Eternal Nightmare like a history lesson. Guitarists Phil Demmel and Robb Flynn (renegade from Forbidden and future member of Machine Head) present us with a demonstration of riffing slaughtering (”Serial Killer”, “Calling In The Coroner”) like only Dark Angel or Death Angel did in the past on, respectively, Darkness Descends and The Ultra-Violence. The bass, incredibly audible thanks to a flawless production, is reminiscent of Dan Lilker’s adventures in Nuclear Assault. Sean Killian’s vocals are a successful combination of a la Baloff’s (Exodus) raw-attitude, with Osegueda’s (Death Angel) charisma. Add to this backing vocals sometimes reminiscent of Testament, sometimes of Anthrax. It’d be though quite ill to think of this record as the simple and single sum of all these talents and similitudes. Vio-lence is no cover band and they follow their own road. When giving birth to Eternal Nightmare in 1988, shadowing the better part of the production back then and drawing all stares down to the new Bay Area phenomenon. Eternal Nightmare is still to be enjoyed and kinda like Mentos is still the freshmaker it was back then. Fellow thrashing maniacs of old, clean off your dusty full-lengths, fellow thrashing maniacs of now, you too deserve this gem.
Beergrinder, Eulmatt, Mamafucker, Poupoune, Vastaire.
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By contresens
How about a brief introduction of who you are?
Want to know my name?… it reads Eilsel only backwards. I am 16, go to high school… Alright that was short. Le’ts move on!
Tell us when did you first meet metal and the journey you’ve taken since
then?
I discovered metal when I was 12/13, something like that. I started listening to Pleymo, Linkin Park, Sum 41 etc. Many bands in the same vein, yeah… well I hard to start, right, and I’m not ashamed to say it…(laughs) (of course some will say it’s not even metal, well it is for me, it’s nep-metal and others can fuck off). On and on, I discovered Cradle Of Filth, Nightwish, Within Temptation, Rob Zombie, Epica, Iron Maiden… Going deeper and deeper, I stumbled upon Dark Funeral and Gorgoroth. I quite liked these bands, especially DF’s «The secrets of TheBlack arts» and Gorgoroth’s «Pentagram». Some frined of mine lent me a tape from the Darkwoods Legion ; I can’t recall the exact name I just know it was amazing.
Do you play in a band?
No I don’t. I play bass but only for fun. Maybe later, I’ll feel like playing in a real band but not now…
How did you come accross Spirit Of Metal??
Thanks to some scumbag who’s ruining my life but nonetheless introduced me to many black metal bands and not just black metal (the only thing that does not piss me off about him). By the way, he was quite an active forum user but not any
longer… Maybe because I came in!
Would you say you’re satisfied with this site?
When it comes to bands, it’s really exhaustive, you can find just about everything. Thanks to it, I have discovered many new bands. I also appreciate that you can add yourself bands, it gives the administrators some rest. I do also appreciate the reviews, whenever I want to know if this album from that band is good or not, I just go and read the reviews. I get to see point(s) of view which will help me grasp beforehand the substance of the album. Obviously MP3’s are a great concept too, a good helper to discover a band. Videos give me the opportunity to see good stuff or how a band may play live. Forums are nice too because you get the chance to talk to seasoned users or sometimes perfect dummies (depends…), you can debate on various topics. I’m not a frequent use and I’d rather read others’ comments and argumentation. Sometimes I must confess that I laugh quite out loud behind my screen. Obviously there are many fashion victims and insignificant losers. I hate them with a force because they’re so full of it with their so-called metal culture, have opinions on just about everything… I hate it so fuckin’ much I believe I could beat them. On the other side, you have guys with quick wits, ‘nice’ troublemakers. Those are cool, they set the right mood. All in all, to sum it up I’d say I’m almost entirely satisfied with the site.
According to you, what are the strengths and weaknesses of the metal scene?
Weaknesses? Too many fashion emo kids out there that should have their feet stuck up in concrete, too many wannabe fags so infatuated with their so-called culture… Too many people I would trample so they leave the scene to never return again. Strengths? Hell yes, there are just too many great bands out there, this scene is so terrific; headbanging to the sound of drums, growling along with the singer, and so on. Isn’t that too much?? What!???
Would you consider yourself an active player within the metal scene? (concerts organization, distros, contacts with local bands…).
No, I am not active in the sense that I organize concerts with bands. I am in contact with Balaam’s lead singer but it does not serve any purpose. I’d love to be more active but I’m a bit too young, maybe in a few years but it does require a lot of time.
How do you see the future of the metal scene?
According to me, if bands go in the same direction that COF, Dimmu Borgir and others have taken; if it keeps on being polluted by fags and shitty bands in the likes of Linkin Park, Sum 41, etc., there could be trouble My Dear. Of course there still are grat bands like GBK, Ancient Existence, Behexen (all genres mixed), Death, Horna, Corpus Christii, Kreator…, bands which should keep on the good work and it comes to such bands, I see a bright future.
How would you consider the French metal scene? Going up or down?
My thoughts on the French metal scene? Besides aforementioned bands, I believe it is a fuckin’ great scene. I certainly hope that other bands will arise but nothing fucked up and I still hope that others may improve and not end up doing shit. I’m saying here the exact fuckin’ thing I said before. Damn this question is almost similar to the previous one!!
What would be your final word to make this interview look even better?
Some of your questions seem redundant and I feel like I said the same things over and over again. Well anyway, I quite enjoyed it and to thank me you are all invited to pay me a drink… I’ll take a beer, please.
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By contresens
Hi, could you please tell us more about yourself?
Poulpy is my Spirit Of Metal’s pseudo, not my real name (I keep it for myself). I’m 22 and come from Belgium. I work in press media and really much enjoy extreme music.
Tell us when did you first meet metal and the journey you’ve taken since
then?
I was maybe 12 or 13 when I discovered metal. It was with Metallica’s «Load» (which I still quite enjoy even nowadays), then came AC/DC. I went further on with more industrial acts such as Rammstein, NIN and Marilyn Manson, and then onto Sepultura and their album «Roots». Subsequently and thanks to getting the internet set up at home, I had the opportunity to discover more extreme bands.. I started with bans in the like of Cannibal Corpse and Deicide. At that time, I did a few hardcore gigs. Then one day, I stumbled upon Cradle
Of Filth. I did appreciate it enough to give me more motivation to look further within this musical genre. I rented «Panzer Division Marduk» and found it simply amazing (just as much as today); and then other bands like Mayhem or Darkthrone, i.e the classics. I eventually bought up a few CD’s adding them to the orders of other buddies. I could discover more underground bands, for instance Ornaments Of Sin or Seigneur Voland (in other words the NS French scene). Now that I have got a job and get paid for it, most of what I earn is spent either in orders from various distros (Mystic Art, Christkiller, Aura Mystique, Osmose, and I’m always looking for new ones!) or to attend gigs!
Do you play in a band? If yes, could you tell us more?
Unfortunately, no. I am no musician.
How did you come accross Spirit Of Metal?
I stumbled upon it. A friend of mine told me he was a member and while going through it I found out I could post up all my records online. I quite liked it and I started to fill it up (to a certain extent…) and posting on forums as well.
Would you say you’re satisfied with this site?
Well, there are some losers spoiling the forums but in some way it does nicely spice things up. I am not so satisfied to see that some bands are censored because of NS ideology. Not because I support this ideology but because denying or censoring it is ignoring a rather large part of the extreme music scene and that’s what I call hypocrisy.
According to you, what are the strengths and weaknesses of the metal scene?
Depends on which scene we’re talking about! I am not so familiar with the death metal scene and I don’t anything about doom for instance. The only scene I know best is the black metal scene in Belgium, which is much more active in the North (to say things straight: if you want to organize anything in Wallonia, you need to wake up early and there is no guarantee that people will follow up accordingly!). Hence we obviously have problems with Flemish extremists. I, for one, never experienced any particular with them but some of my buddies did. Another issue with the metal scene is the sad image associated to it mostly thanks to some moronic kids. Looking on the bright side, I attend a lot of concerts (far from where I live…), I have great opportunities to buy either CD’s or vinyls (often for a fair price) and most of all, I can attend various fest and totally let go of it and party straight for three or four days in a row.
Would you consider yourself an active player within the metal scene? (concerts organization, distros, contacts with local bands…).
Active, I don’t know… I sure can pride myself to go to many concerts (about one a month and if you consider that most of them take place some 150 km from where I live, I find it not to be a small feat) and above all to buy most CD’s using via small distros or while at concerts.
How do you see the future of the metal scene?
After the explosion of neo-metal, I feel that now people are leaving metal alone for a change. Hence I think we’re going back to more underground acts, with more passion and less trendy people.
How would you consider the French metal scene? Going up or down?
Being Belgian, from my point of view, the French metal scene seems really healthy. You could nag us with class acts like Arkhon Infaustus, Hell Militia or Peste Noire, some great bands. Besides them, I am pretty certain that there are tons of good local bands but since I do not follow up the scene I’m afraid I have not a damn clue. In Belgium we do have major bands like Enthroned and Ancient Rites, but on the other side there are numerous small projects worth listening to, for instance Paragon Impure or Emptiness.
What would be your final word to make this interview look even better?
I think giving away a record to interviewees would motivate them to answer more rapidly!
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By contresens
Hi Laurent, could you please provide us with a little bio from your band Dislocation?
Well, Dislocation started out back in 1997 with a different name: Hallebarde (French for halberd). The first two members were Cédric (guitar) and I. At that time, we were playing melodic death metal because we had not yet the required technical level to play more brutal death metal. The band got more and more brutal as time went by and in 1999 we changed our name for Dislocation, which reflects our music better. We then toured a bit locally but due to some personal issues and line-up modifications, we just could not get further on – I Will Silence most of the shit that hit our fan because it would just take too long a time. We recorded our first album «Dislocation» at the Factory Studio in 2003 and had the opportunity to play with various acts like Misanthrope. «Inexorable dévastation», our second release came out in 2005 and we toured with bands like Thalidomide, Whisper-X, Exhort, GOD Damn… A year ago, Fred joined our ranks as second guitarist and the release of our third full-length is about to happen and we even have some gigs booked up for 2008.
What are the band’s main musical influences? Do you put a story behind your lyrics?
All Dislocation’s members are die-hard death metal fans. If you listen to some of our tracks, you won’t be led astray. Incantation, Cannibal Corpse, Death, Panzerchrist, Obscenity, Massacra, No Return, Morbid Angel, Hypocrisy, Deicide, Nile…, they all are favorites of ours. Nonetheless you can still find some thrash and black metal influences in some of our compositions. The first two records dealt mostly with various themes like with no particular order: science-fiction, psychology, madness, or war and destruction. «Soulgrinders from the stars», our third offspring is rather a concept-album with an ongoing sci-fi story. It wasn’t really the easiest thing to compile but I believe the end result meets our expectations.
You live near Clermont (France), what sort of advice would you give to new local bands?
Above all, they should enjoy playing (otherwise, it’s doomed to end up soon), they should not have unrealistic expectations because they probably will never be rockstars and last but not least that they put up the fight to defend all what this music stands for.
What are Dislocation’s breaking news?
Actually, the release of our third album. We just finished recording at the Pro-Pulse studio with our drummer Jérémy Vergne in charge and on the first of April (no April fool intended) and we’re now in the process of mixing and mastering at au studio +9 with producer Stephane Buriez (Loudblast). On the first of April (no April fool intended) we will play live at the Coopérative de Mai in Clermont-Ferrand. We also have a few gigs planned for the second semester.
Tell us more about Pro-Pulse-Records.
First of all I’d like to mention that we basically build the whole thing up. Can’t tell you it was the easiest thing out there because we all have jobs on the side but we had the motivation to do it. That makes Pro-Pulse our very own studio. Various metal bands have recorded using our services (Morphoss, Exhort, Deacon’S Lodge, Chaos Legion,…) but also rock and pop music bands. We do also organize bus trips to make it easier for the younger metalheads (some not that young by the way) in the region of Clermont to get the chance to see live bands (Nile in Limoges or Behemoth in Lyon among others).
Do you also maintain good contacts with other local acts?
Well, we have our good friends and not so good ones. We obviously played quite often along with Morphoss, Exhort, or Chaos Legion. Three bands that recorded at Pro-Pulse by the way. We get along quite nicely with most bands we know. Most but not all. In a local scene, you need to make ends meet together, this implies some reciprocity: you can’t just ask and never give, you can’t feel you’re above the rest. Not counting the two bands I play in, the bands we appreciate the most are Morphoss (Thrash/Death), Awacks, on Brennus label (Heavy/Prog), Exhort (Death metal) and Fat Ass (Hardcore).
As for the bands we dislike with passion, I can and will drop a few names: Apsid, a hardcore band that dumped us after having booked the studio (fuck you very much) and Ancient Ceremonial, a so-called black metal band. This band has become a mythical private joke for all of us.
How would you qualify the Clermont-ferrand metal scene? What are the venues where we could see you play live?
This is a recurring problem. There are very few venues where you can see live metal acts. Still I should mention the ‘Wheelie Bar’ and the ‘Velvet’. Other than that, you have to book up yourself places and it takes a hell of a time. For instance, if you want to play at the Coopérative de Mai, one of the best venues and the second in size after the Zénith d’Auvergne, it’s a toll order
Within the band, do tensions arise from time to time or does the sun always shine above your heads?
Inevitably, we do not always get along. There even was a time where we were constantly fighting each other but we got older and now we’re adult enough to discuss things ‘quietly’. More or less. You can take for granted that Dislocation’s members are closely welded. I’ve known Cédric ever since I was a child (he was my groomsman at my wedding a year ago) and Luc (bass) since I graduated from the beer academy: we share strong ties and it really helped us through hard times. If you want a band to be consistent over long periods of time and still be full of energy, it takes more than being world-class musicians.
What’s in stores for Dislocation?
All I can tell you is that we’re never about to play any pop music. All we need at this moment is a decent distribution to promote Dislocation and selling a few records. As for the rest, as long as we can play brutal stuff, have enough energy and motivation, Dislocation will keep on releasing albums and play live as much as possible.
Where would you like to take the band’s musical orientation?
For sure, Dislocation will remain a death metal band, but we’re no frozen-in-tracks Obituary and we aren’t scared to make some changes. We did actually integrate some unusual elements like violin parts or even didjeridoo in previous recordings. Nothing is carved in stone and a lot also depends on lyrics since Dislocation take great care in both music and lyrics. We just have no intention whatsoever to slow the tempo down.
Is Dislocation the first and only band you’ve played in?
It is my first band and like many other bands, we started it all in a room with guitar and vocals sharing a single amp. On the other hand, I have recently joined a new death metal band, Nephren-Ka. It is so much fun, I get to play with younger guys, from 17 to 24, whos remind me of my (not so) older self. Talking about Nephren-Ka, we played our very first gig March, 7th.
How would qualify your work within Dislocation?
I’m in charge of all the lyrics. I actually believe that writing lyrics is an inherent part of the composition process to which the singer is entrusted just like the guitarist comes up with riffs! With Soulgrinders… well, it was even more peculiar in the sense that riffs had to be created according to the lyrics because of the concept behind it.
On more personal terms, what was your first encounter with metal?
In junior high I was already listening to some AC/DC and Twisted Sister, but I really got hooked on in 1992 when discovering WASP, Iron Maiden and Judas Priest. Almost in no time, I turned to more extreme acts: Loudblast, Brutality, Malevolent Creation, Deicide…
Anything else you’d like to add?
Yes. To all metalheads: stay brutal. And to all pontificators, fascist pigs and other alterglobalists from Clermont-Ferrand and elsewhee: fuck off.
Would you offer a record for Spirit Of Metal user?
It depends. Can you get me to the First Circle? Anyway, you’ll get one just so you can review it (and we’ll make sure to enclose a bottle of Ricard just so we can get a good review).
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By contresens
This selection you’re being presented with is the result of a collective teamwork, voting, exchanging and debates sometimes stormy. It has not the pretention to be THE reference, we quite well know how subjective one can get in such endeavours. The idea is to select fifteen fundamental records, records which somehow represent the hallows of both death metal and grindcore. Pure and eternal. We deliberately limited ourselves to the first Golden Age of death metal not exceeding one album per band. Focusing only on the impact of a single record, some essential bands did not make it in the selection in spite of exemplary discographies (Cannibal Corpse, Bolt Thrower, Vader). Oh well… Here is our very own selection and if you happen not to own one of the following records which you would subsequently purchase, we’d believe that death metal’s noble cause would still benefit from it anyway!
Comments and reactions welcomed…
Asphyx : Last One On Earth
Inevitably, controversy is bound to Arise with such a record! Reproaches Will come from many aspects. Having given too much credit for OLD school death metal, a dinosaur still running on leaded Fuel, monolithic and mid-tempo altogether. Having Enthroned the European OLD school scene before its legendary American sister counterpart or even the no less famous Swedish cousin. So what, since we’re going to Evoke the 1989-1992 period and concur to the presence of obsolete European death metal, I can already hear you ranting about the oversight of bands such as Bolt Thrower or Morgoth ! Well, we are the Troublemakers and we’re going to prove it. Just because. Yes, Last One On Earth is far from being the most spectacular album but it is no less the most significant of a death metal genre that, even though it is seldom technical, down-tempo and linear in construction, comprises most of the essence of the genre: authenticity. How would you not adhere to those harsh vocals, whose reference to Tardy-Schuldiner would just make one smile, to this enveloping bass almost used as a melodic lead on unstoppable and efficient guitar riffs, to those never too fast rhythmical flights which we adversely wait for…and to this gloomy and sticky atmosphere, which impregnates you and eventually hold you up a hundred times more than clinical and over-the-top technical demonstrations all lacking character. Come on, indulge once Again in this one-and-only world and I bet you Will thank us all…. Well, not mentioning that this selection also serves the purpose of saluting a Dutch scene worthy of such a great tribute for all it gave during this brief but decisive era.
Brutal Truth : Extreme Conditions Demand Extreme Responses
You will notice our selection has given quite a nice lead to death-grind bands with the presence of Terrorizer, Napalm Death and Carcass. Therefore you could wander why this album should make it on the list. From our own prism, BT could almost play second fiddle…this said, those of you who lived through this blessed era will not dare contradict me if I pronounce Extreme Conditions as a cult masterpiece. This record’s significance remains fundamental for the digging in and the full development of the grindcore scene, where Terrorizer almost said everything all at one and where UK’s ex-grinders were definitely embracing death metal at its purest form. Doing it all over again with a respectful approach of the origins (numerous short tracks, growling and screaming vocals, constant explosiveness) while being resolutely modern (a breath-taking production, maestria in both song-writing and implementation), the great Danny Lilker’s band ends up establishing the requirements of contemporary grindcore, wisely using elements from the death metal spheres to give body to the angry furor of his music. A real concentrate of brute energy, perfectly carried out (there is no power without mastery…), Extreme Conditions imposes BT’s leadership on the grindcore scene, now bound to a bright future, a not so obvious statement before this record. A scene which deserves so much more than the ravings of alcohol-sodden pseudo-grindo-losers. Enough said.
Carcass : Symphonies Of Sickness
In popular psyche, Liverpool is the original cradle of the biggest rock band of all times. Or shall I say the two biggest rock bands of all times. If Carcass’ style strays away from their eldest, the anthems are just as federative. It’s a real pain in the neck to pick up one album from Carcass discography. Each and every one of them is a lone jewel making up their crown. Therefore, to come up with any result, this result, we’ve sometimes used diplomatic ways, but sometimes we had to use weapons of mass destruction. No doubt that Eulmatt (the second biggest Carcass SoM fan after me) would have singled out Heartwork where others would only swear by Necroticism… Second record of what was thence only a trio, Symphonies Of Sickness propels the band to the insignia of bloody icons where Reek Of Putrefaction had started to make us all the more curious. Production is more polished and from now on one can dissect and savour Steer’s, Walker’s and Owen’s the musical individualities. Necrological experts in musical torture, Carcass dissects each track in a style which, without denying its grindcore roots, tends to converge more to death metal. The scalpel has been left to Colin Richardson, surgeon of darkness. Without compromising with the violence of Reek Of Putrefaction, Symphonies Of Sickness offers new summits of silky brutality with the addition of quality songwriting. Simple and catchy melodies, Walker’s and Steer’s supernatural vocals, Owen’s groovy drumming, with a final touch of gore… Ever since copied, never once matched up with, Carcass remains today despite a somewhat brief lifespan one of the most influential bands out there. If not the most.
Death : Leprosy
Let’s put aside the neverending debate on the origins of death metal. That Chuck Schuldiner may or may not be his inventor via Scream Bloody Gore isn’t relevant after all. While the distant British cousins are putting their own fit in (Napalm Death, Carcass, Bolt Thrower) a year later in 1988, Death meets unanimous appraisal in America. Leprosy, its unique cover artwork, its unbelievable eponymous title, its eight timeless songs. The fat lady has sung. The breach from obscure and gory thrash/death metal is here to last. Throwing in a power never heard before but also maestria of instruments and a songwriting art all concurring to the creation of Chuck’s legend, Leprosy is full of legendary riffs, upper class solos, accelerations and breathtaking breaks. Born Dead, Left To Die, or the famed Open Casket, to cite only a few, are unsinkable and mythical tracks, which will make every respectable deathster weep some tears out of sheer pleasure. It wouldn’t be right to see Leprosy as a milestone or a global inspiration for ongoing death metal acts. While its influence cannot be denied on many bands (Pestilence,…), the pure genius of Death is so unique that Leprosy above all builds up its own myth, timeless and inimitable. The band, or rather its frontman, will eventually follow their own way never losing the class and the unrivaled genius through the five records which will subsequently follow Leprosy. Chuck, we miss you.
Dismember : Like An Ever Flowing Stream
Florida has already given birth to the sacred idols of death metal and has given USA a leg up when Sweden comes to set the example in the most flamboyant way for Europe. Skogsberg and his Sunlight Studios, which had already cleared the road with Entombed’s Left Hand Path, produce the mythical Like An Ever Flowing Stream. For some this album symbolizes the very esssence of what death metal should sound like. Aggressive rhythmics, riffs sometimes fast-paced sometimes rather mid-tempo but always heavy and ultra-saturated with vocals that always perspire an exacerbated violence. Aside the two CD bonus tracks, the original recording last but a mere thirty minutes, tying tracks with spirit together leaving the listener breathless but nonetheless sated like Slayer’s Reign In Blood had done it in another era. The Swedes’ first opus will suffer no argument. From the mythical Override The Overture till the very end note, Matti Kärki’s crew meets unanimous support launching scathing attacks, each one more decisive than the other.
Entombed : Clandestine
We’re talking about nostalgia here. About those shivers you get down the spine, those that bring back up eternal memories. Everything contributes to the aura of legend around this record and the impact it had on a whole generation of young metalheads. Dan Seagrave’s atwork, sublime et so evocative, and these first abrasive riffs from Living Dead, its emotion-packed and dark cold break slowly ending only to be greeted with a final nigh exhilarating acceleration…I get the shivers just talking about it. If Entombed left such a deep impression with the release of Clandestine (and obviously with Left Hand Path), it’s undoubtedly because the Swedes have proved capable of producing a death metal with groove and feeling. They have given it awesome fluidity and impact, using this so peculiar guitar sound hitting bull’s eyes on every acceleration and break. Beyond the catchy side, the overall glacial and heinous atmosphere of the record finishes to impress the minds. Ah, the dreadful and magnificent breaks, the tortuous solos, the slow elements grimed with freezing cold ambiances…and take that in your face: teeth-grinding accelerations, gum-crushing rot ‘n roll riffing! You could listen to this record a hundred times, the magic would still operate. I guarantee it…
Grave : Into the Grave
“Beyond Grave there is nothing but chaos.” This excerpt from the band’s liner notes on the awesome compilation Masters of Brutalities, summarizes neatly the buzz around Into the Grave when it was first released. Let us now point out that Grave’s sound is quite different from their fellow countrymen’, it’s a lot darker with down-tuned guitars. Grave’s tracks are rather straightforward and direct, but Oh Boy! The Swedes here pound their riffs down with unshakable conviction and rare sincerity. Ola’s and Jörgen’s monstrous vocals finish to convey brilliantly the now acclaimed anthems that are Hating Life, Extremely Rotten Flesh or Deformed. Grave’s first and main quality is not speed, here you mainly get mid-tempos but the atmosphere, the heaviness of Into the Grave are therefore pervasive and set their own path of destruction. With this album, Grave came up with a sound so unique it will be influential in the future for many other bands (Fleshcrawl, among others). A milestone for amateurs of very heavy death metal.
Immolation : Dawn Of Possession
In the early 90’s, shadowed by the glittery death metal scene hailing from Florida, its New york counterpart had nonetheless prospered, no less talented but definitely more underground in nature. If you’d like to draw further the comparison, NY’’s response to Morbid Angel is named Immolation. The band that should have enjoyed a similar glory never did get the right circumstances to achieve this goal. Although very active in the underground scene back in the mid-80’s, Immolation will only release their first album in 1991, when Morbid Angel have already brilliantly marked their territory. If I seem to insist on this comparison, it’s only because Dawn Of Possession has made an unquestionable breakthrough with one of the most fundamental releases of the modern death metal scene, putting together with style technicality, brutality and suffocating and mystical heaviness. Surprisingly modern, incredibly rich and frighteningly powerful, Dawn Of Possession incarnates without a doubt death metal at its purest form. Alas, we may regret that this sacred icon had had to wait another five years to see the release of a second album after Dawn Of Possession, unfairly denying Immolation forever the acknowledgment up to their immense talent. Time won’t change a thing about the past and now every deathster without his copy of Dawn Of Possession should fill this huge gap as soon as possible.
Massacra : Enjoy the Violence
Let’s put first things first back in context: Massacra were pioneers of the French death metal scene along with other acts such as Agressor, Crusher or Loudblast. It was worth mentioning. Massacra’s second release is their most ground-breaking. Following the release of Final Holocaust, bestial and aggressive but somehow a bit loose in terms of production, Enjoy the Violence hits you right in the face. The tracks, each one more violent than the other, are put together flawlessly showing Massacra delivering top-notch compositions, frantic and yet highly controlled. A single glance at the artwork will make you feel at once all the hatred that Enjoy the Violence is made of. At any cost, do not play at maximum lever Ultimate Antichrist, Gods of Hate or Sublime Extermination if your grumpy neighbor’s home, you could end up breaking up his door and eventually beat him up to death. One of the greatest achievements of French death metal and even European death metal.
RIP Fred.
Morbid Angel : Altars Of Madness
Are we even supposed to introduce Morbid Angel? We could point out some crystal-clear facts like death metal had found in the release of Altars Of Madness a sort of founding gospel, pushing back the frontiers of speed, technique and violence to create a never heard before mystical world. We could even say, under a strictly technical angle, that death metal at it purest and most achieved form starts here and now, giving away most thrash metal influences, borrowing speed and power from its younger grindcore counterpart, or even inheriting in a way from proto-black metal acts this sulfurous and demonic climate. Not only redefining the shapes of extreme metal, this record impresses all along thanks to its artistic maestria and extraordinary technique. It goes without saying that such a masterpiece is undoubtedly the greatest influence in all death metal, putting together all the genius of the musical genre. Listen to Maze Of Torments or Chapel Of Gouls and rest assured that in death metal as in religion, there are some sacred foundations which no one may ignore. Needless to say that Morbid Angel and their album took immediately hold of the death metal throne. Its grandeur remains such today that twenty years after, no fool would dare contest it. If there would be only one album left out, you can bet it would be Altars Of Madness…
Napalm Death : Harmony Corruption
In 1990, when Harmony Corruption is released, the whole world knows who are Napalm Death. Scum and FETO have propelled the band in the forefronts of the international scene strengthening their reputation as the world’s fastest band and definitely putting Earache on a pedestal as the number one label for extreme music. If both Scum and FETO stand as trademarks for ‘political’ grindcore, Harmony Corruption makes a hairpin turn to offer unconditional death metal. Bye bye Lee Dorrian and Bill Steer which are now fully integrated in respectively Cathedral and Carcass, welcome aboard Benediction’s ‘Barney’ and Terrorizer’s Pintado. Mick Harris’ band flies to Florida to record in the famed Morrisound studios under the guidance of Scott Burns. Tracks are put together without a flaw and Embury’s bass along with Harris’ drums show real improvements in terms of the band’s musicality giving birth to catchy at will structures that tickle the ‘headbanging muscle’. Musically the album is in itself exhilarating but the addition of Barney makes it essential. Barney growls just like Andre Rieu plays the violin, his animality and enthusiasm are so exuberant it draws most of the attention. Whether on ultra-fast Extremity Retained or Unfit Earth along with Tardy and Benton, Barney gives the listener a memorable performance and Napalm Death new ever higher standards.
Obituary : Slowly We Rot
If you had to chose within our selection the most controversial album, you’d be ending up with Slowly We Rot. The explanation is altogether rather simple. Glancing at Obituary’s discography, one can tell they haven’t always shone nor had the will to renew their style. All of this transforms Slowly We Rot into some kind of ultimate recording for a band, which, since 1989, struggles to regain their original glory. Please note that Slowly We Rot is no technical wonder, it also does not reinvent all over again a style whose foundations had been brilliantly laid out by Death or Morbid Angel, it is rather the album where the worldwide metal community discovered John Tardy’s the inhuman voice. The lad has vocal cords made out of adamantium and his grunting skill is just amazing. Nonetheless it is not the album’s only asset. Obituary bank on oppressing atmospheres and often dares slowing the rhythm down to gently devastate us with doom-like hammer falls…Morbid, macabre, tracks like ‘Til Death or Bloodsoaked really characterize some sick climate reinforced by the cover’s artwork. They may also be credited with a peculiar guitar sound, rather down-tuned and high-pitched, which tends to make their sound all the more pathological. Although you could easily skip most of Obituary’s production, if you consider yourself a real die-hard death metal fan you should not omit Slowly We Rot.
Pestilence : Testimony of the Ancients
Following Consuming Impulse, the Dutchmen’ pass to the death metal halls of fame, here comes Pestilence’s ultimate masterpiece. Patrick Mameli recaptures the lead vocals left vacant by Martin Van Drunen and his voice adapts perfectly to Testimony of the Ancient’s musical orientation. Now reaching full growth, the band learned to temper the violence and energy of the previous recording so as not to release an all too similar album. There you will find some progressive elements, which at first glance, could even collide with death metal: keyboards, subtle acoustic interludes. These elements make this recording so incontrovertible. Efficiency, however, is still at the heart of this album and the rhythmics of the timeless Twisted Truth or Land of Tears have impressed generations of metalheads. When it comes down to death metal, The Netherlands mean much more than cheese and windmills.
Suffocation : Pierced From Within
Suffocation is almost the creator of a peculiar genre: brutal death metal. Care not to confuse it with grindcore…Effigy of the Forgotten, their first full-length exploded all over the world in 1991. At that time, some even considered the band hailing from New York to be simply the most brutal act in the world. Pierced from within (1995) was released in a context not so kind to death metal: black metal is now becoming the next big thing with bands like Emperor or Darthrone and death metal is starting to go round in circles. Basically, that’s exactly when you differentiate good bands from great bands, though in a difficult timeframe Suffocation churn out a brutal and technical death metal missile, as if Effigy of the forgotten had cooked up with Cynic. Here no one may doubt the musicians’ supremacy: surgical and unstoppable riffs from the Cerrito / Hobbs pair always hit bull’s eyes, the bass / drums section perfectly supports the tracks’ syncopated rhythms and should we even mention that vocals are being held by legendary Frank Mullen? Without this essential recording, acts like Deeds of Flesh or Disavowed would have probably never existed.
Terrorizer : World Downfall
Mick Harris is some kind of éminence grise in extreme metal. Founder of Napalm Death, it is through his undercover work that Terrorizer join the ranks of Earache Records. The English label wants the band to record at once and the band, from which Sandoval has already left to Morbid Angel close off the Morrisound studios in Tampa. Garcia as lead vocals, Pintado as guitarist, Sandoval on drums are supported by Vincent, Morbid Angel ’s official grunter, who plays all bass lines. It will take a mere two days for World Downfall to see daylight. One label, two days and four individuals to give birth to a record which even today remains one of the few masterpieces of grindcore in particular and extreme metal in general. Almost all the sudden, the band vanishes enabling Terrorizer to become an uncontested object of worship. It is not so much Garcia or Vincent as vocalists which give the album this special vibe than Pintado’s frenzied riffing and above all Sandoval’s incredibly disproportional drumming. Monument of precision and speed, Sandoval goes beyond drumming and sublimates each and every track. In 1989, Terrorizer’s atypical grindcore fills a gap left open across the pond and answers back Napalm Death’s world supremacy in extreme music.
Beergrinder, Eulmatt, Vastaire.
Vous pouvez donner vos avis ou réactions sur cette sélection, en postant directement un commentaire sur l’article de blog.
By contresens
Eulmatt
Discreetly, our Good Ole Metal is about to celebrate 40 years of existence, lest we respect the tradition stating that Black Sabbath were the original progenitors back in February 1970. In this regard, it makes it somewhat easier to grasp Why our favorite musical style has become so rich, plural and so heavily interwoven with histories and legends. Easier also to understand that Embracing metal is really a declaration of Faith similar to priesthood. As a vocation, a thorough knowledge of its fundamentals and their understanding is essential. At least, this vision of beliefs is the crucial link which binds us, Troublemakers, together. Further on we’ll have more time to present ourselves though I believe it is quite necessary to go through small bits of this uncanny brotherhood. A heterogeneous and risky gathering of trigger-happy and hot-tempered individuals, obtuse stubborns, patented nitpickers and grumpy metalheads is the essence of the Troublemakers, whose only common feature is the Unlimited passion for metal, so demanding it sometimes converges to hard lining. Our mission, as it is, is not to preach out the ultimate word but rather to share our experience. Our job as Troublemakers is composed of debates and fiery discussions. Sometimes similar to virtual wrestlemania, what you now get to read is the offspring of all our emotional arguments. We rant, we fall in love. Our various papers are presented before you to be shared, discussed and commented. You’re being served a certain vision of metal, it may not pretend to stand out as the Next ultimate milestone but it shouldn’t lack neither character nor personality. Getting back Again to this Good Ole Metal of ours, try only and consider that now entering its forties it is still fit as a fiddle. One of the very best indicators of its good health is the extraordinary late vivacity of death metal and its historical second wind, almost as vivid as it was when it was first born twenty years ago. And so you may fully grasp the phenomenon going on, this week we’ve decided to deliver a death metal selection of oldies but goodies, so everyone may (re)discover its fundamentals to better appreciate its contemporary side… Every week, one of us, Troublemakers, Will present his/her own custom-made selection. Let me now open fire.
Highlight : Hate Eternal : Fury & Flames
It’s already a month OLD but it won’t leave my player. I haven’t looked for the most underground band out there. Somehow something most expected, quite well established but then it is still most pleasurable to be hit hard in the face even when that’s exactly what you were expecting…Therefore I have chosen to review the latest realization of Hate Eternal, a wonderful confirmation of a momentum now active for quite a few years which gathers together the most brutal and the most technical elements that death metal of the nineties had first delivered. In this regard, Fury & Flames is simply incredible. The strongest argument of this newest production lies in the ability to recreate a very personal atmosphere, loaded with emotions. Anger at its darkest, infuriated and Funeral at will. Hence, the perfect sum of what made the grandeur and Purity of death metal.
Down the Drain: Children Of Bodom : Blooddrunk
A lot more media-friendly than Hate Eternal, ten thousands times more accessible, Children Of Bodom is my flop. It’s not so much the fact that the Finns have come together with a worthless full-length with their latest Blooddrunk. It’s just that since last year, between Dimmu Borgir, self-proclaimed black metal king and ever-present in media, only to finally give birth to In Sorte Diaboli as consistent and tasty as a boiled endive and CoB trusting the media forefronts to mother a record with the authenticity of a newfound starlet straight from American idol, this artificial metal both satisfying the charts and being praised by many kids is more than a simple annoyance. But it becomes really exasperating to witness now such media-commercial abuses, which had so far spared the most Extreme side of metal. At least, let us hope that the over-accessibility of these “figureheads” Will eventually lead to the conversion of new adepts, who Will try and discover all the riches and the strength of genuine metal. Genuine metal hidden between this razzle-dazzle and superficial showcase.
According to me, all of this goes without saying especially when considering the brilliant artistic history of these two bands which still plead for them…
The Forgotten Masterpiece : Depressive Age : Lying In Wait Being a thrash metal band at the beginning of the 90’s was definitely no guarantee for success. Originating from ex-GDR, Depressive Age did not also enjoy the best consideration from their modest label. And finally what takes the cake, our good friends do not give a shit about trends and influences to eventually submit a very personal, resol
I can already hear you cry foul: just how could they not choose Alice In Hell, their first milestone-setting album? The Answer is simply because Never, Neverland, the second release of the Canadian Act and its mentor the most genial Jeff Waters, is just their most successfully achieved. From the first notes of “The Fun Palace”, Annihilator give us precise sharp riffs, like a scalpel blade that would and could perform appendicitis surgery on ants. Diversity is a keyword for all this record, the combo sometimes gives us furious tracks like “Stonewall” or “Kraft Dinner”, sometimes highly technical tracks like “Road to Ruin” and “Sixes and Sevens”. Coburn Pharr, lead vocals on this second record (in an ever perpetual line-up), demonstrates all his vocal range. In perfect Symbiosis with each and every composition, his Voice can sometimes be scowling and warm, sometimes Aggressive and melodic. And what of the virtuoso solos, Winged at Will, what of the track “Phantasmagoria” – a classic, fans expect Will be played Live (just like “Alice in Hell”) –, if only that’s plain brilliant? The album ends as it began with the shrew-like “I Am in Command”. Everything comes full circle. Soon with 20 years of existence on the clock, Annihilator are still alive and kicking and remain essential to thrash metal. Thank you very much, Sir Waters.
There are some controversial albums out there. There is quite a number of die-hard fans that believe that Dark Angel is an overrated band that usurps its reputation when others praise to the skies the California combo’s musical superiority. For us Troublemakers, controversy did not arise and Darkness Descends won hands down the right to enter our selection. And what could be more normal. Alike Ultra Violence, the riffs’ violence is always paroxysmal, always faster, so as to remind us that at this time « speed metal » was not some futile expression. Forget those acoustic ballads a la Testament or Acid Reign, forget the subtlety of Metallica or Annihilator: this album is home to decibels whose goal is leave restless the listeners. The most often seen complaint about this record is certainly its ‘false’ linearity; most likely because tracks leave the listener breathless and worn out thanks to the constant attacks on our eardrums which, as soon as the eponymous track beings, are put to severe test. I
In a way, the Californians of Philippine heritage are the icons of the second thrash metal generation. Bred up with the thrash metal of the masters, forever worshiping Exodus and Metallica, these talented youths prove their passionate devotion via their fisrt release. The Ultra Violence is a fiery plebiscite for Thrash Metal, in which Death Angel seek to set the world on fire. And if this approach, relatively naïve but for sure endearing, could make one smile, the quality of the outcome is impressive and commands respect. The band’s technical mastery, its neverending inspiration (Death Angel is a riff factory) and the singer’s charisma will disperse the last remaining interrogations: this new generation has all what it takes to be at the forefronts of a thrash metal scene at the height of its popularity. Listening to the eponymous track over ten minutes – an incredible frenzy of riffs, accelerations, breaks and utterly creative solos –, it’s not hard to understand that this passion is rather disproportionate. This blazing outburst, beyond understanding, gave the shivers to generations of Thrash Metal fans, and I would bet my house on the fact that such a phenomenon will last for quite a while. This is why The Ultra Violence stands out like some historical legacy, still proving the impact it had when it was first released. Indeed, the California-based band became all the sudden – together with Testament – the new Bay Area leaders, an incarnation of a beaming form of eternal Thrash Metal, technical and elaborate.
Any self-respecting thrash metal fan should know the classic “Bonded by Blood”, Exodus’ first recording, a pioneering band of the thrash metal scene made in Bay Area (a lad named Kirk Hammet even played within their ranks before joining what was then a small local band: Metallica). From the start, Gary Holt (founding member and today the sole survivor of the original line-up) and his crew swing at us the track “Bonded By Blood”, uncompromising thrash metal where hearty rhythmics attack us relentlessly – thanks to the insane pounding of Tom Hunting! Whether on Exodus, where the missed Paul Ballof (R.I.P) screams all his rage, or on “A Lesson Violence” and its killing chorus – definitive and archetypal tracks that give the shudders when played live –, the band catapults pure balls of fire combining together ultra heavy riffing and fast-paced movements. Hence, the track Piranah, on which both guitarists offer us a final and most beautiful duel, not to omit the killer No love; concluding their act by Strike of The Beast just as deadly as the Undertaker’s French strike. Though the band kept on releasing fine albums (including notably “Fabulous Disaster”) with Steve Souza as lead singer, it is with their latest release, “The Atrocity Exhibition”, and its providential singer Rob Dukes, that Exodus finally gave us “Bonded by Blood”’s worthy successor, essential works of the ATOMIC BAY AREA scene.
Flotsam And Jetsam have never been as famous as their counterparts Exodus, Slayer or Kreator; nonetheless I believe you’ve already heard of the name. Flotsam And Jetsam’s first bass player, who later joined the ranks of Metallica on And Justice For All, is indeed Jason Newsted. Doomsday For The Deceiver (1986) is not, however, the album of a single man and we will see that the final outcome is largely due to the teamwork of five gifted musicians. Their style is not necessarily very brutal in form but rather fast-paced and elaborate thanks to guitars’ constant performance with the Edward Carlson/Michael Gilbert duo. I must mention that with the addition of Eric A .K., Flotsam And Jetsam have for them an exceptional singer whose style is not so much aggressive as it powerful, melodious and varied able to reach effortlessly high pitches. On the track Doomsday For The Deceiver, a 9 minutes-long and epic song, all the musicians set the world on fire with their talent: acoustic intro, warlike/ heroic fantasy lyrics, catchy chorus, elaborate riffs and brilliant vocals all along. With this first release, Flotsam And Jetsam have already given birth to a masterpiece, a Thrash metal album which though it is not as brutal as Reign In Blood, as wild as Tapping The Vein, has nonetheless its own personality. There you can find an ubiquitous sens of melody that more recent Thrash metal bands desperately lack. If you ruled out Doomsday For The Deceiver in the past, do not make the same mistake all over again and get your hands on it as soon as possible to make up for lost time.
Following the gigantic Endless Pain, released in 1985 on Noise Records, Kreator come back a year later with what should earn the title: « Monument Of Thrash Metal». Yes, you’ve heard me. Pleasure To Kill will, indeed, definitely put Kreator among the greatest bands of the mucical genre. Released the same year that saw Slayer’s Reign In Blood de Slayer or even Metallica’s Master Of Puppets, getting acknowledge with this record was no piece of cake. Yet, the Germans’ high energy thrash metal supports the comparison with its counterparts across the pond. But let’s get to the point. The album starts off with a somewhat nice intro with pretty melodies which are nonetheless birds of ill omen. Let’s bear in mind this is a Kreator recording! The uncontested masters of brutal Thrash Metal. Once the last notes of the introduction fade away, there won’t be no mistaking: the first impression is confirmed. Kind of like the calm before the storm. You get a first ‘in your face’ guitar riff; bass is rather put in the foreground shaking the walls while the drums are carried away in frantic blasting. When I first listened to this record, I told myself: what a fucking bomb?! It is seldom you may listen to thrash metal that perspires so much intensity. Especialy if you consider that Petrozza’s vocals are so extremely raw, alike black metal-like as it was then played. In other words, it’s played fast, it’s violent and it reeks of hatred all the way. Every single track is just excellent, even if I consider one to stand out above the others (I would even like to add it’s an all time favorite whatever the musical genre): there you go “The Pestilence”. Killer riffs that would scare off Slayer’s Kerry King de Slayer, blasting all the way down with threatening intensity; there Petrozza gives us the best of his vocal abilities. Oh well, this song is just filled with monumental parts and alone justifies the greatness of the album. Still like I’ve already mentioned, Pleasure To Kill is not just a great recording. It is a monument to the history of metal. A real gem which suffers no discussion among real metalheads. Attention! You must own this record!!!
AD 1994, thrash metal is no longer at its apex. Death metal’s coming of age a few years ago just dealt it a severe blow and the musical genre has grown to sound a bit tacky thanks to bands like Morbid Angel, Pestilence and others. Death metal too is subject to its own backlash with an overabundance of bands – many of them quite uninteresting – and beings to lose the listeners’ interest. That’s exactly when Machine Head release Burn my Eyes that left many of us dumbfounded at that time. Indeed. Burn my Eyes is rather closer to what could be described as Power Thrash. All considerations aside, this album is the outcome of seasoned musicians: Adam Bunce plays the bass, Logan Mader the guitars, and the powerful Chris Kontos is on the drums. Add to this Colin Richardson as a producer and you have all the necessary ingredients required to make a bomb. The sound is plain gigantic and surpasses everything similar that was released until then, some kind of overpowered Pantera’s Far Beyond Driven (not talking just about production by the way). When it comes to music, Machine Head deliver a fatal blow and the riffing efficiency along with Rob Flynn’s extra-powerful vocals is pure delight. Power is definitely the keyword. Riffs reach an intensity without precedence (Davidian) and Chris Kontos make out the best of his double pedal – realizing this only takes listening to the final movements of None But My Own and especially of A Nation of Fire. Often with such milestones, the intensity remains the same and boredom is kept a bay thanks to the wide variety of the tracks. With Burn my Eyes, Machine Head presented their « new-school » Thrash metal to the world and the classics, Davidian, Old or The Rage to Overcome, have set new standards for many other bands that stepped in their tracks: Skinlab, Pissing Razors, etc. You’ll excuse if I’m not going to feed the usual controversy: « does this band really play thrash metal? » hell no, I think I’ll just put the record in my player again without even thinking about this and actually, I think everyone should be doing the same.
Brother will kill brother, thus starts Rust In Peace and it’s true that sometimes these very brothers – once brothers-in-arms – become enemies to each other. This is true of Dave Mustaine who got banished by the Four Horsemen and became the eternal black sheep for just about everyone. At that time, the band with the ’skull and crossbones’ mascot named Vic Rattlehead arguably supports the comparison with Metallica, which successively released two blockbusters with Master of puppets and And justice for all. It is time to strike back hard. And that’s exactly what happens with the release of Rust In Peace where compositions, solos and melodies gained an unprecedented intensity that So Far, So Good, So What lacked. Just consider all the instant classics like: Holy wars… The Punishment Due, THE classical hit, a legendary track stagging up religious fanatism. Hangar 18, a track essentially written to have a ‘guitaristic’ ball with its melodic riffs; its innumerable solos tapping in most ranges: melody, virtuosity, speed, most often arranged altogether. What then of Five Magics, its intro layered with hypnotic bass lines, its weeping guitars that suck the listener into some dark world. Who’s never been on a joyride along with other metalheads singing the chorus in unison « I master, Five Magics…. » and headbanging as if it were Wayne’s world? The awe-inspiring Tornado of souls is also filled with virtuoso solos and reinforced concrete-like rhythmics, all of this supported by the efficiency of the bass/drums section and yet perfectly matching guitars, Dave’s peculiar singing and nice backing vocals. Rust In Peace… Polaris is yet another timeless work that remains entangled in the memories of thrashers with its unmistakable intro, its unforgettable chorus you can enjoy four times, « Launch the polaris, the end doesn’t scare us, when will this cease, warheads will all Rust In Peace ! », its frantic ending, etc, etc. Un-for-gett-a-ble! I’m telling you! Dave Mustaine has finally turned the tables and though he will never become the best seller that Metallica became (though he did try, especially with Risk), he’s earned the respect of the metal scene with the release of Rust In Peace. These are long forgotten times where thrash metal was still king (though not for much longer). Ever since, death metal and black metal have arisen sowing the see of disruption but again let me advocate this record and please remember to play it from time to time. Eradication of Earth’s Population loves Polaris.
The band formed around Hetfield and Ulrich was yet the fastest to release the real first Thrash Metal album back in 1983, claiming from now on its will to remain number one. The legend however will only come full circle a few months later. For ever. Ride The Lightning, the famous record with the mythical blue cover, made dismal strides revolutionizing what was then still labeled as Speed Metal. This is here that Thrash Metal will take on its modern and definitive form while competition is still furbishing its weapons. Metallica are the most gifted and the greatest of all: the pioneers. This album is so dazzling and radical that no one will ever dare contest their supremacy for the forthcoming decade. From “Fight Fire With Fire”’s acoustic intro followed by riffs of unprecedented power,“Ride The Lightning”’s multi-faceted composition where inspired riffs, passionate solos, classicism and melodic elegance are all brilliantly interwoven to the epic “Fade To Black” becoming the first ever thrash metal the ballad and the now essential traditional instrumental track (”The Call Of Ctulu”), Metallica invent everything. Aside James Hetfield’s quite pale performance as lead singer, the mastery of the compositions and the quality in carrying this out leave all but speechless. Metallica’s music embodies some sort of perfection, from the smallest possible melodic aspect (thanks to a real heavy metal culture) to the overall concept of this recording in the form of a perfect 8-tracks template which will be subsequently applied to the next two albums. Ride The Lightning may be considered the real takeoff of a legend that will for many years bring devastation even beyond thrash metal.
The Thrash metal scene hailing from the UK has not always been a sparkling diamond. Quite the contrary. In a scene outrageously ruled by the United States Of A, Great-Britain could only count on a few pretenders in the likes of, among others, Acid Reign, Lawnmower Deth, or better still Onslaught. The latter have especially left a deep impression. Like many outfits that were born in the beginning of the 80’s in Treacherous Albion (sorry guys…), punk music still has a big influence and you can quite feel it, for better or for worse, on the Brits’ cumbersome first release: Power From Hell. Following some rather original line-up changes – notably with the arrival of a new singer – , Onslaught get rid of their punk-like reminiscences and fully embraces quality thrash speed metal. Aside The Force’s main qualities and obvious technical advancement, the band’s compositions gain more body – thanks especially to the addition of a second guitar: longer, continuing but not uninvinting riffs’ variety, ballsy breaks and then on top of it a real singer in the person of Sy Keeler, who master everything from shrewish vocals to lyrical flights a la Rob Halford, his fellow countryman. Lyrics are very much versed into satanism and related themes (and if you don’t believe me take a look at the pentagram on the album’s cover) which give an overall Hell Awaits / Show No Mercy touch. Above all, it’s much thanks to the diversity and the fullness of its compositions (with no particular order, the classic “Let There Be Death” or the much Overkill-like “Flame Of The Antichrist”) that, following its release in 1986, the album became an instant masterpiece, showing that not only the German scene could fight for the Big Four’s crown.
In 1989, when Sepultura release their third record, times are fretful. The past Thrash Metal monsters, holding the scepter of extreme music, are far from realizing that they’re going to have to be through the wringer for the most part of the 90’s. For some two to three years, Death Metal comes cheeking at them in their fiefdom and steal many fans from them. It’s also a period where a lot of bands just can’t cope with this situation. Thrash metal or Death metal? Such a Cornelian choice will unfortunately harm most of the bands which will release either death thrash or thrash death records. When you can’t tell no more where to stand, you usually end up doing garbage, which is not to please a demanding audience. Sepultura win this challenge hands down. Associating the two genres brilliantly. To tell the truth, even today the debate is still going on. Is Beneath The Remains to be considered Death Metal or rather Thrash Metal? Such considerations have, thank God, very little interest if not to quibble and cavil for ever. The only answer is that Beneath The Remains was, is and always will be one the very best albums out there. Ambiguity is salutary. Morbid Visions and Schizophrenia, closer to thrash metal, foreshadow the success of Beneath The Remains. And, if we may, without being fearing too much discussion, argue that our Brazilian friends lean more on the thrash metal side than on the death metal side, Burns’ production (Atheist, Obituary or even Cynic to cite but a few) turn this impression inside out. Back then uncontested producer of the whole rising death metal scene, Burns gives this death metal touch to Sepultura; tracks sound clearer and deeper and are a perfect exemple of the a la Burns production. Moreover, you can’t help but recognize that Sir Cavalera’s voice, in between thrash metal and death metal, ends u winning the case. Whatever the feud between so-called experts, Sepultura engendered a masterpiece.
You’ll often hear that Slayer’s second release is their most underrated. It’s right in the sense that most people often favor the hardliner and furious Reign In Blood, the worrisome slowness of South Of Heaven or the achieving Seasons In The Abyss often seen as the perfect synthesis. Knowing what a crucial role Slayer played for all the extreme music scene – death metal and black metal included –, we daresay that Hell Awaits is the California-based combo’s most essential recording. It sets new references for metal in anno domini 1985, together Possessed’s Seven Churches on this side of the ocean. Hell Awaits presents Slayer under a new light different from what the band traditionally stood for. Still the album possesses this ability of playing hard and fast with a heightened aggression, but its darker than dark atmosphere, most certainly their least accessible production, left an indelible mark on this record. Also worth mentioning, its structures are elaborate, bordering on the progressive side. From the acclaimed “Hell Awaits”, the concert opener, a slow cataclysmic climb to a peak of metallic frenzy, via the classical “Necrophiliac”, or the complex and fascinating “At Dawn They Sleep”, Hell Awaits is a plural, dark album full of untapped riches. There are some much atypical and captivating songs like “Kill Again” or “Crypts Of Eternity”, that, somehow, appear as genial inspirations of what is yet to come ahead in metal. Unique and so telling of Slayer’s abounding talent, it would be pure nonsense to stop at their most commercial releases and pass by Hell Awaits with the risk of denying oneself a real gem.
When Death Metal was grinding Thrash Metal down thanks to warheads like Obituary, Morbid Angel or Pestilence, a German band came to release surely one of greatest records in the history of Thrash Metal not to say Metal in its entirety. It’s obviously Sodom’s Agent Orange de Sodom released in 1989. There we go. I put the CD in the stereo, turn the volume on to max level and press Play. And there… it’s just no bullshit, the album takes off like a shot – some good greasy earcrushing thrash riffing. I can think of only one thing: headbanging. First observation: the band did not assuage and their music is still not for your dear auntie. It’s fast, violent and brilliantly carried out. Between the parts where they fuck everything up and the killer mosh parts that make you feel like smashing everything up, one can say that the band is rather a master of sonic destruction, something so dear to Thrash Metal. This album is violent from beginning to end without ever giving in in linearity which often deals borders on the impression of fucking boredom. This album’s atmosphere and the heaviness of some of the riffs even sometimes the singing leave on me a disrupting mark. There is something more than Thrash metal. Oh, shit, could that be, yes it must be! This little thing is just black metal’s fucking lingering odor. Some parts are really heinous, sometimes heavier than heavy. I think moslty of “Magic Dragon”, which weighs down the ambience with its heaviness and the peculiar tone of Tom Angel Ripper, the band’s bass player and lead singer. All the tracks are just terrible, all of them make me headbang. Though to be perfectly honest with you, a song really sticks out. “Tired & Red”. This track starts off hard, very hard. A massive blast along with a massive riff – nothing so special you’d reply. But then out of the blue, a most beautiful acoustic part invites itself. The kind of part that leaves me nostalgic because of its sadness and melancholy and leaves no one indifferent. Sodom thus gave birth to a true Thrash Metal masterpiece. All in all, you certainly got the point, this is a classic album combining together original thrash metal with some black metal parts reminiscent of Sarcofago or Vulcano. In 1989, Sodom left an indelible mark on the metal community showing that even with Death Metal at its apex, Thrash Metal was not dead. An essential album for all metalheads only if you want to risk depriving yourself of unprecedented sensations.
Some icons end up being utterly forgotten. Invariably. Praised, hell!, worshiped when it was first released, Eternal Nightmare has become today only a sum of memories for those who once knew it. That’s quite hard to stomach for fans at the very outset to perceive that a record is eventually doomed to have an alpha and an omega and that nothing is ever eternal (except for the nightmare, hahaha). So it’s quite with an undisguised pleasure that we, gentlemen of good taste, bring back to you the good memories of Vio-lence’s first record: Eternal Nightmare. In my opinion, this album is the perfect sum of what should be thrash metal. Presumptuous? See for yourself. Vio-lence gives us Eternal Nightmare like a history lesson. Guitarists Phil Demmel and Robb Flynn (renegade from Forbidden and future member of Machine Head) present us with a demonstration of riffing slaughtering (”Serial Killer”, “Calling In The Coroner”) like only Dark Angel or Death Angel did in the past on, respectively, Darkness Descends and The Ultra-Violence. The bass, incredibly audible thanks to a flawless production, is reminiscent of Dan Lilker’s adventures in Nuclear Assault. Sean Killian’s vocals are a successful combination of a la Baloff’s (Exodus) raw-attitude, with Osegueda’s (Death Angel) charisma. Add to this backing vocals sometimes reminiscent of Testament, sometimes of Anthrax. It’d be though quite ill to think of this record as the simple and single sum of all these talents and similitudes. Vio-lence is no cover band and they follow their own road. When giving birth to Eternal Nightmare in 1988, shadowing the better part of the production back then and drawing all stares down to the new Bay Area phenomenon. Eternal Nightmare is still to be enjoyed and kinda like Mentos is still the freshmaker it was back then. Fellow thrashing maniacs of old, clean off your dusty full-lengths, fellow thrashing maniacs of now, you too deserve this gem.
