Testament - The Legacy (1987)

This is one album I should have reviewed when I first started this blog. Testament, still going strong, began life as Legacy, and who'd of thought back then that this bunch of upstarts would be considered one of the best thrash acts of all time. And that they certainly are. The first clutch of albums were of a time when the Bay Area seen was foaming, great production, crisp chugging guitars and Chuck's distinctive bellow. 'The Legacy' is a superb debut album featuring timeless thrash classics such as 'Over The Wall', 'Apocalyptic City', 'The Haunting', 'Burnt Offerings' and 'Do Or Die'. Fresh, ferocious and fearsome, Testament came out of the blocks and certainly had more vigour than say Overkill or Exodus and they were always a step ahead in the beefy vocal department as well as Skolnick's guitar wizardry. Again, who would have thought that such tracks would become anthems to our youth, fist-pumping chants to rebel to, and to make us proud to be metalheads. Many years later 'The Legacy' still bites hard and sits in history as an important record, not just because it summed up that Bay Area crunch, but because it offered so many great cuts. If you call yourself a thrasher then you MUST own a Testament album, but one is never enough and thankfully most of what these guys have released over the years has been spot on, but the old ones are always the best...if you ask me anyway.

8/10

Exodus - Tempo Of The Damned (2004)

I'll openly admit that Exodus were never one of my fave thrash acts. Vocally, Steve Souza used to grate a little, and there always seemed to be more sinister or heavier bands around. Exodus are a different force nowadays, heavier and deeper, but 2004's 'Tempo...', which features Souza on vocals, is a stonking album. This is true thrash, it's heavy, at times pretty fast, well produced and the songs are brilliantly structured, from the Slayer riffage of 'War Is My Shepherd', to the ominous bass laden 'Blacklist'. Souza gives his best performance, almost like a possessed Bon Scott! 'Tempo...' is in fact so good that it's like stepping back into the mid to late '80s, and boys, that's a big compliment, and yet it still fits into the genre of today which of course produces greater dynamics and weight. I never thought I'd hear Exodus so biting and dangerous and this album is a worthy addition to the collection of any thrasher. Steve Souza fled the nest afterward and was replaced by Dukes for the bands heaviest work.

8/10

Death Angel - Relentless Retribution (2010)

I understand that many '80s/'90s thrash acts who are still going, or returning to the fray, have to adapt if they are to draw the crowds. Nowadays it's all about bone-shuddering riffs, greater dynamics, multi layered digi-pack cd's, lush production etc. For me though, despite the quality thrash being served up by the old guard, Death Angel have never had to run with the times because they've ALWAYS been ahead of the times. The band's first three albums are thrash classics, raw and yet progressive, mature and also ferocious in their speed and also their diversity. 'Relentless...', the bands recent thrash attack is a hefty slab (cool cover guys) which contains some great melodies ('Truce') and a new, beefed up thrash architecture. My biggest concern is that this new thrash wave is affecting the sound of some of the acts we know and love, turning them into destructive juggernaut's without an identity, but then again, some would argue that modern day Overkill or Exodus is a far greater force than back in their heyday. Death Angel manage to keep a foot in either era, the guitar attack of Cavestany and Aguilar is as potent as one would expect and Osegueda remains distinctive as he always has despite some extra gravel in that tone. What I want from Death Angel though is that soul which came from 'Frolic...' and layered 'Act III', and thankfully, amidst the thrash assaults, we do get that here. 'Volcanic' is a sensational track, sweeping, emotive, and yet the band can effortlessly alter, 'This Hate' is a three-and-a-half minute barrage of speed. 'Opponents..' is addictive, the track sliding into a chorus that has hooks embedded in your brain and reminds me of C.O.C. mixed with decent Metallica. It's no wonder that DA are such a cult and quality act. I believe that over the years they've had it hard...too hard, they've suffered tragedy and they should have been huge, because even as teenagers their brand of thrash catapulted them to the dizzy heights of the major thrash league, not many bands could compete. It appears that even today DA stand alone, and yet with superb recent albums from Forbidden, Exodus, Overkill etc, 'Relentless...' is the best of the bunch.

8.5/10

Annihilator - Annihilator (2010)

The last few years have seen quite a few classic thrash metal acts up their game and return from the woods to churn out spellbinding records. For those of you who, like me, got fed up with Metallica in 1988, then you should be seeking out stuff like this. This is thirteen albums down the line and still Jeff Waters and whatever merry band of musicians he assembles, are blasting from on high. Dressed in a pretty cool sleeve, this self-titled record is a pummelling ride of fearsome riffs and aggressive vocals, long gone are the days of Randy Rampage from the bands debut many, many years ago. Waters is still a master at putting cold steel on record, finding a niche which drifts between the precision and glinting swords of say Metal Church, Megadeth and even Pantera on '25 Seconds'. If Metallica hadn't turned to shit after 'Master Of Puppets', then maybe they would have recorded something like 'Ambush' or 'Death In Your Eyes', but who needs Metallica when we've got Exodus, Heathen, Overkill, Death Angel, Forbidden and Annihilator still battering the senses. Good stuff.

7.5/10

Atheist - Jupiter (2010)

I never really saw it coming, death metal's techno wizards return. The masters of awkward thrashing and bemusing death, confusing yet intriguing fans and critics since the early '90s. Nothing has really changed, the complexities as harsh and as alienating as anything on 'Elements', but vocally Shaefer is more vicious, somewhere between Sadus and the last Death record. It's laughably brilliant at times, just check out the network of chords, bass lines and trigger drums on 'Fictitious Glide'. Many will find 'Jupietr' as cold and extraterrestrial as the planet - an obscure yet myriad of technical amazement which renders all competition numb. 'Faux King Christ' is mesmerising with its hidden jazz episodes and Latin weirdness tucked in the background behind those face-ripping yet never consistent tempo's which structurally fragment like shattered glass. The record is full of complicated segments, discordant particles and cosmic fantasy, wrapped up in that fearsome zip of a deathly sound. 'Tortoise The Titan' bewilders, befuddles and bewitches, the band leaving you agog, but others will run from this intricate noise, and those who are brave enough to stick around this alienating place will find themselves scratching what long hair they have left. Atheist are marvels at this type of extreme music, it is unique, but an acquired taste. See also Cynic, Anacrusis, Pestilence circa 'Spheres', later Death, etc for similar unearthly beings.

8/10

Billy Goat - Bush Roaming Mammals (1992)

Aaaaarrrrgggghhhh! It's the early '90s, it's got a silly title - surely it must have some kind of funk ulcer ? Yep. And, like a few inclusions on this blog, it's certainly not essential, far from it, but I do like to let the metalheads and others have a glimpse of a world now lost...especially if you weren't there at the time. Thankfully, in part anyway, these guys like to beef up the guitar rather than letting the whole image and sound succumb to the watery funked up waves of colour. It's not the genius of Fishbone...nothing really is, but it's got that feel, and 24-7 Spyz can also get a mention here, and although we've got that humour, which never really works because it's clearly something personal to the band, we've got a few decent tracks and high elements of rap rock - Hard Corps somewhere too. Some may find it wears off after a few tracks, and that's always the case with this novelty stuff, and however harsh that sounds, novelty is all it is - the funk thing was never gonna last and 1992 was pretty much the final year of its pathetic existence. Billy Goat (awful name) will be forgotten but due to a sprinkle of okay-ish tracks, they get a mention here.

5.5/10

Forbidden - Omega Wave (2010)

Since the late '80s Forbidden, from the bay Area, have only released a handful of albums and I must admit that I drifted away after their second opus, the impressive 'Twisted Into Form'. And now, a couple of decades later, they are back and this time it's personal. 'Omega Wave' is a mighty thrash fest which digs deep into the past but also leads into the future of cutting metal, proving that there's life in those older dogs yet. Russ is vocally bang on form, more gravel in his voice as 'Forsaken At The Gates' comes raging in and 'Overthrow' pounds the skull with its dirty riffage. Like Heathen, Overkill, Exodus, Forbidden, in the modern era have carved themselves a new niche, extracting the best fragments of their legacy and transforming it into gargantuan thrash with mature, well structured songs often weighing in at over five minutes. The pristine chug of '80s Bay Area thrash has now been replaced by greater dynamics, the band immersing their sound in multi-layered effects and complex arrangements, all vying to emerge from the battering ram of the rhythm section. Who'd have thought that the thrash metal of yesteryear could still blow the modern imitators out of the water and without changing pace or succumbing to gimmicks. Like Exodus, Overkill, Heathen, Defiance, Testament, et al, Forbidden prove once and for all that the thrash wave is unstoppable.

7.5/10

Heathen - The Evolution Of Chaos (2010)

It's great to see an album of this nature emerging in 2010 (see Forbidden's 'Omega Wave' also). Heathen, back in the day, were a pretty much ignored but highly talented thrash act. Competition was so fierce in the late '80s, what with bands such as Exodus, Testament, Overkill, etc, etc, vying for a place in the premier thrash league. However, the top thrash acts, whether underground or of some fame, prove time and time again that they have something in their blood which cannot be taken away or easily mimicked despite the slight thrash resurgence of current bands pretending it's still 1987. 'The Evolution...' runs for over an hour and doesn't let up from first to last note. Yep, it's old school thrash but these guys have matured so much that what they do just comes so naturally, a mega chug here, an acoustic intro there, those bellowed vocals and chanted choruses, and yet despite the familiarity you just can't get enough of it. 'No Stone Unturned' moshes through the speakers and into your lounge, eleven skull-cracking minutes of tight thrash, hinting at Metallica's masterful 'Ride The Lightning'. The vocals of a band like Heathen don't need to stand out, 'Arrows Of Agony' is a prime example of how classic thrash works and how separate segments of a band are melted together to form such blistering dynamics. 'A Hero's Welcome' rises above all others with its dramatic yet serene opening chords which drift into a mid-paced rocker that brings to mind the cold steel of Metal Church at their finest. 'Red Tears Of Disgrace' is equally enthralling and ascends into a pummelling crescendo, and as seven-minute 'Silent Nothingness' brings the album to a close one can only admire Heathen for dredging up the past and yet somehow giving it a future. Evolution indeed...

8/10

Spread Eagle - Open To The Public (1993)

What a cool band Spread Eagle were. High on sleaze, but like Love/Hate frilled round the edges and offering so much more. Guns 'n' Roses may have achieved the bank account...and looks of Elton John, but Spread Eagle had the diversity and mystical magic. The ultra cool 'Devil's Road' seeps in as the album opener, a slow, dreamy bong that transforms into a stadium rock fist pumper complete with thrashy chug. 'Revolution Maker' has some fun time, sassy but again blessed with a killer riff, and vocally this is meaty stuff, think of the majesty of Kik Tracee and the likes.. The swaggering 'Shine' has hints of Black Crowes meanwhile the funky jerk of 'If I can't Have You' makes for a sublime listen, again, the riff comes out king with a feel of old LA Guns. Token porch loiterer is 'Fade Away', blessed with uplifting chorus. Stuff like this should sell thousands, but it never does - why ? Lack of backing I guess from the major labels but as album closer 'Faith' drifts off over the sun-kissed horizon one can only ponder what a world might be like if bands like this ruled the roost instead of corporate, bloated rubbish. 'Open...' is a mighty fine record so do your bit and give it a listen.

8/10

Heads Up - Duke (1991)

Head's Up introduced themselves to us via the half-decent funk strut of 'Soul Brother Crisis Intervention', but by the time this five track EP had emerged the funk metal trend was getting on every one's nerves. Heads Up were among the better acts of a really bad bunch to be honest, their style of streetwise skate funk and elastic raps were very much from the Chili Pepper school. Sadly, face pulling and slap bass still an all too familiar and sickly ingredient. Even so, it's better than listening to say Scatterbrain, Ignorance etc. Personally, if I were forced to introduce someone to the multi-coloured 'delights' of the funk metal trend I'd suggest the Chili's 'Mothers Milk', because for me most of this type of stuff isn't really funk metal, it's just part of a novelty that thankfully disappeared up its own backside rather rapidly. 'Duke' isn't a bad record but but the time and the place it came from was just too much to bear. Sorry guys. Give me Satan and hair metal anyday.

5/10

The Chelsea Smiles - 36 Hours Later (2006)

The sticker on the cd cover states that The Chelsea Smiles feature ex members of Murphy's Law, D-Generation and Danzig. TCS are Todd Youth, Skye Vaughan Jayne, Johnny Martin and Karl Rosqvist and they play in your face rock 'n' roll - simple as that. No gimmicks, just sweaty black catchy groove 'n' roll and it rocks far more than say a so-called supergroup like Circus Diablo. It's drunken, hard-hitting party music with attitude, I could imagine these guys opening for someone like Beautiful Creatures. A cool piano roll on 'Heart Attack', catchy hook on opener 'Nothing Wrong', punky edge on 'Pillbox' - in fact, twelve tracks that just head straight for the jugular. No real thrills or spills, but the songs are good enough to get the chicks dancing and the guys rocking.

7/10

Dangerous Toys - Dangerous Toys (1989)

Forty minutes of ballsy, sleaze wrapped in a cool cover. Cowboy swagger, G 'n' R struttin', at times predictable especially in the track titles - 'Teas'n Pleas'n', 'Outlaw', blah blah, but very much of its time. Some felt that DT were better than a vast majority of similar acts at the time but I don't really here that on here. At times it's a meatier Poison, the next a less ferocious G 'n' R, a few cuts sounding all too familiar, 'Scared' and 'Take Me Drunk' although deep within the saloon there are a few catchy tunes. Jason McMaster has a fair set of pipes, similarities with Axl Rose and the bubblegum riffs are pleasing on the ear. Too much competition at the time meant so many acts faded into obscurity, but DT hung in there and became even more credible on their third record, 'Pissed' after they were dropped by their big label. Fave cut is 'Feels Like A Hammer', proof that DT had something extra in the locker but playing cowboys...and...cowboys was just too suffocating for me at the time, and after Love/Hate this type of stuff gets tired too easy.

7/10

Funky Metal - Various Artists (1991)

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Grave Digger - Witch Hunter (1985)

Another mini-classic from the doom-laden German thrasher rockers. Euro metal at its peak in the mid to late '80s and as dank as a castle dungeon. 'Witch Hunter' is harsh, thrashy, nocturnal and searing hot with its crashing cymbals, hyper guitars and OTT vocal attack. Pure metal for the masses even if the masses didn't get to grips with it. No real variety on offer but who needs it when the metal on offer is so cavernous and razor sharp ? Grave Digger never really followed in the successful footsteps of Accept, but for me they are far more of a cult act who are still going strong in their metal and imagery. A good album cover is always a decent starting point and by the time 'Shoot Her Down' thumps you in the skull, you'll be begging for more staright heavy metal thunder. Good stuff.

7.5/10

Juggernaut - Baptism Under Fire (1986)

Bewitching metal that brings us the likes of 'Impaler', 'Rains Of Death', 'Cast The First Stone', and 'Slow Death'. meaty, wholesome metal with power metal leanings and fantastic guitar work, rattling bass and soaring vocals. Pretty typical of its time and relatively obscure nowadays but oh so joyous in its mist-enshrouded lore and all too eager to snap up the minions of metalheads hungry for a trip into the domains of Hell.

7/10

S.O.B. - What's The Truth ? (1990)

Sits nicely alongside the ear splitting politics of Unseen terror. S.O.B. were a cool, fuzz-drenched hardcore act whose flesh-gnawing grindcore/hardcore and biting messages strode hand in hand with early Napalm Death and the likes. There was always a slightly depressive edge to this type of stuff, but I simply think that's down to the fact that at the time people were so used to Satanic imagery etc, that when this type of extreme, yet dirty hardcore came about no-one knew what to make of it. 'Over The Line' is a catchy, quagmire of a cut, and 'Respect At Length', 'Obsessed With Wickedness' etc, all follow suit in that gurgled manner of grimy horror. Inhospitable to most metallers, the only bridge here would emerge with death metal, apart from that, grindcore set its own stall out and didn't care if anyone was interested. Muffled, lunatic vocals and fast-apced anxiety the norm' and some great riffs lurking within. Cool cover.
7/10

Grave Digger - Heavy Metal Breakdown (1984)

I love Grave Digger. I guess it's the imagery because I recall this album and the 'Witch Hunter' lps back in the day and as they sat in the local record racks I felt drawn to their almost medieval majesty and wanted to run off to the woods to live. This German bunch, who at the time slotted nicely alongside Helloween and Running Wild, were always just below the big league of thrash/power metal titans, but I always preferred this type of metal. It seems so sincere, if a little amateurish but the anthemic 'We Wanna Rock You', 'Headbanging Man' and the brilliant title track were just perfect fodder for us rebellious teenagers who thought lightning a fire in the local woods was pretty evil!! European metal always had a cutting edge - maybe it was the wall of guitars, or the chain mail vocal style of Mr Boltendahl, either way, Grave Digger sounded like they lived in a castle and probably recorded their albums in the dungeon. For its time 'Heavy Metal...' is a mini-classic, wrapped up in one of those magical album covers and blessed with a sound that your parents would deem a racket. An essential album for dark nights by the sea...or an ill-lit bedroom.

8/10

Stryper - Soldiers Under Command (1985)

Oh how the sceptics mocked, and how the metalheads frowned. Stryper were so anti- everything in regards to metal that they were never given a fair chance but little did the naive realise that the band, despite their heavenly lyrics, were still a decent metal act. Stryper may have chosen God over Satan and they may have been lampooned for it, but I find myself liking this straight-edge metal, the title cut is a bit of a stomper, Sweet's vocals are clear and edgy over the riffs, and sure, there may be no blood dripping from those structures but 'The Rock That Makes Me Roll', and its merry band of godly buddies are not as cringe worthy as one might expect. I remember the uproar caused when thrashers Believer came out and told the world they were a Christian thrash act, but it didn't detract from the fact the band were a very cool act - okay, so Stryper are no Believer, and there's more prancing here than the mentioned cult thrash act, but even so, take the 'hymns' with a pinch of salt, as one in fact should with regards to Satanic leaning, and just respect the rock.

7/10

Anacrusis - Screams And Whipsers (1993)

This is truly startling thrash of many shades and mood. Anacrusis probably too clever for their own good...or the genre, and inhabiting some remote island of similarly genial and lost souls...Atheist, Mekong Delta, Coroner, Cynic, Watchtower, anyone ? Even so, boy, am I glad I experienced this record because 'Screams...' is probably one of thrash metal's greatest records. Jarring, complex, extraterrestrial, alone, intricate, grey, shifting, twisted, awkward...genius. 'Sense Of Will' drags the band to a misty mountain over-looking the wilted competition, hints of limitless Voivod, and yet blindingly catchy, which above all makes this record so supreme, its thorny ability to alienate despite its sharp edges and inaccessible climbs. 'A Screaming Breath' jerks...the bass bubbles, a tirade of staggered chords, a bass that trickles and weaves, vocals somehow lucid, almost gentle, then wrenched into agony before a dying moan...spectral. Similar trajectory displayed on 'Divisions' and 'Sound The Alarm', too good to be true if you ask me...occupying an industrial estate on the very edge of a yet to be discovered planet, a completely different cosmos of licks, twiddles and of course, those never at ease landscapes which appear so uninviting but once experienced take the listener through a vast pastoral place inhabited by strange faces. Anacrusis doesn't have to create its own identity, it is supernormal, and a few albums down the line the band have also created their own field, or league which to inhabit and lead, those which follow need not apply to the other place occupied by the seemingly great kings of thrash. Brain busting in its layers, yet riveting beyond comprehension, but who is brave enough to leave their boat on those fragmented waves and stroll on the uneven terrain to a place that holds many secrets ?

9/10

Unseen Terror - Human Error (1987)

This sort of grindcore was a real eye opener for us thrashers back in the day. Suddenly here was an extreme sound, but something with a political edge - bereft of corny images, and yet still downright and dirty in its appearance and message. This is considered a grindcore classic, I always loved the vocal attack - clear yet deep over the buzzing mayhem of the hardcore riffs. From the rattling 'Divisions', to the slow fuzz of 'Hysteria' through to the hyper speed of '...Pestilence'. Short tracks, politically grim and certainly part of a niche which featured the likes of Heresy, S.O.B., et al. Not always for the faint-hearted this kind of stuff went hand in hand with early Napalm Death and for me it worked because it was almost 'un-metal' yet proof that the metal genre could spawn extreme bands but in a completely different sense.

7/10

Antidote - The Truth (1986)

This is pretty decent Finnish thrash that I never had the pleasure of hearing first time round - too much other thrash on my plate. Coarse thrash of cutting guitars, brisk bass and a few chugs thrown in for good measure. Refreshing, up tempo and very welcoming rather than being overtly grey or dull, some good drum work ('Subordinate People') and archetype thrashing ('Symphony Of Death'), certainly never reaches the high standards of '80s thrash but then again I don't think it wants to. Antidote seem happy to cruise along at their own pace, displaying intelligence and a genuine hunger to kick ass.

6.5/10

Mad Season - Above (1995)

I'm sorry but I wish I hadn't started this review now. When 'grunge' hit the big time it was annoying, too many downbeat, dressed-down guys with the same guitar sound, and of course, those who were more successful at it, i.e. Pearl Jam, Alice In Chains, etc, often dabbled in side projects such as Mad Season. Fronted by the allegedly tormented and departed Layne Staley, Mad Season is a downbeat, bluesy affair which never comes to life. Picture a dingy student room of half-baked ideas, candle scent and drugs of choice and you might tap into the right mood. 'Wake Up' is a seven minute ponderer in which Staley rarely rises above a yawn and 'Long Gone Day' is a slow burning, bongo drum mood swinger that sends me into a drug-fuelled coma. Brad, Pigeonhed, Hater, Gardener, and Mad Season, were all branches from a big grunge tree, but in the case of 'Above', this was one of those vines which stooped downward, reached into the soil and buried itself. I'm sure there's a lot to be admired here but for me it grates.

5/10

It Is I - Evolve (1994)

Where did this slab of oaken doom come from ? Like some mud-caked monster rhino wrenching itself from the swamp, the bizarrely named It Is I emerge from the soil flex their muscles, destroy a village and then plop their hefty rump back into the quagmire. Slo-mo doom, drowning, suffocating, angst-ridden, Warhorse, Burning Witch et al, could be their supernatural kin. 'Purge', 'Burn', 'Larva', 'Total Eclipse', not quite as unforgiving as say, Winter, but more morose and dirty than a great deal of doom acts. Watery, smothered vocals, stuffy atmosphere, rusty guitars, brain-shattering drums, perfect for that summer bbq...all we need now is a swimming pool built somewhere on a cold and moss-consumed moor and a bathing suit made of mulch. Quicksand for the soul...and it evolves about as much as concrete.

6.5/10

Metal Church - Hanging In The balance (1993)

Now, here's a band who are very hard to knock - their career, despite dropping from the Sony label, has always enabled metalheads to experience the sound of cold steel. Metal Church should have been in the big league, highly talented, and with Mike Howe on vocals their range of power metal has been inspiring. Somehow though they've remained an isolated bunch and their album covers can't really help the band - this time it's one of the least 'thrash', or even 'metal' covers ever drawn up, out of place alongside the very metal logo, but then again, 'The Human Factor' cover was also leaning towards that alterno-style. So, what d we get musically ? Well, again MC bow to no-one and once again they screech out a toxic set of tracks which put most other bands to shame. This is classic metal, real man's power metal, proper thinking metal. The band effortlessly drift between grunge-tinged grooves and sweep to classic metal, slow brooding atmospheres and thundering manifestations. Howe's vocals rise above the storm clouds and as usual the slightly grey edge of the sound enables us to ponder a darker landscape. 'Gods Of A Second Chance', 'Down To The River', 'End Of An Age', potent, fiery, but somehow rigid and cold ventures which make modern Metallica appear as no hopers. Metal Church is mature metal, doom-laden, bordering on thrash in the bass heavy department, but always soaring through the trends without batting an eyelid. Major respect for the band sticking to their guns but oh so tragic that they never shared the headlines with acts such as Megadeth. Just weep at that album cover though!

8/10

Fifth Angel - Fifth Angel (1986)

To some this may be generic heavy metal but for me this is blessed with breezy, catchy riffs straight from the mid '80s metal cauldron. Neither dark or light, this debut record is full of velvet vocals and ascending guitars, hints of Dio, Dokken et al, melodic choruses etc. 'Midnight Love' might not be every metaller's cup of tea but one needs to appreciate it for what it is - a powerful rock track. Some nifty guitar work weaves together each well structured track which are backed by solid drums. Fave cut is 'The Night', archetype metal to some extent but hey, there was always a lot of archetype metal back then. 'Call Out The Warning' and 'Only The Strong Survive' wouldn't have elevated Fifth Angel to wondrous heights but it's more than competent metal which makes for a wholesome listen.

6.5/10

Slammer - Insanity Addicts (1990)

I'm never too harsh to criticise this type of 'thrash', especially when it comes from the shores of the UK. However, what I do find is that this sort of stuff can be a little tepid, and not just in its musical assault. UK thrash has never been a major force, and whilst Slammer's 'The Work Of Idle Hands', and records by other acts such as Re-Animator, Acid Reign, Toranaga, and Sabbat, are all worthy editions to this blog and any collection, but apart from Sabbat, your average hardcore thrasher may find most of these record unfulfilling. 'Insanity Addicts' is an EP released in 1990 and once again displays Slammer's very adequate thrash skills, although this opus sees the band opting for a slower approach. Some may find the EP rather bland, Slammer coming across as a lukewarm Testament-style act if you ask me, indeed, a lot of UK thrash was pretty sub-standard, possibly down to the production values and lack of an identity. Even so, 'Insanity...' does offer some half-decent tracks, 'Maniac', 'Bring The Hammer Down', all good headbanging stuff, if a little unrewarding.

6.5/10

Metal Church - The Dark (1986)

From its foreboding sleeve to the slow-building menace of some of its tracks, Metal Church's 'The Dark' remains one of the most underrated but compelling thrash albums of all time. This, being the band's second album, is a cult classic, and whilst the band went on to perform greater dynamics under the vocal leadership of Mike Howe, 'The Dark' still stands strong as a very good thrash record. Most of the cuts on offer are mid-tempo, bolstered by David Wayne's sneer. The riffs are solid, the drums weighty and although there's nothing startlingly original about it, there are enough well written cuts to set it aside from the horde of thrash acts that would follow. The dark atmosphere of the title cut, the cold, eerie halls of 'Watch The Children Pray' - proof that Metal Church have always been a very adequate band. Of course, after Wayne's departure the combo would delve into more complex realms of cold steel, but as far as thrash goes, 'The Dark' is a must have for any budding thrashead. The cover alone makes it worth a dabble.

7.5/10

Annihilator - Alice In Hell (1989)

Some bands just literally come from nowhere and Canada's Annihilator were one of those acts. Oddly, they completely passed me by despite the huge buzz around six-stringer and band head honcho Jeff Waters. For many Annihilator were up there with the thrash titans, for me it was the out of place vocal sneer of Randy Rampage that kind of put me off, but there was no denying the frenetic power of Waters and the rest of the band as they tore through what have now become classic thrash tracks such as the title cut, 'Buns Like A Buzzsaw Blade', 'Welcome To Your Death', 'Ligeia' etc, etc. The sound of Annihilator was oh so clear and almost pure in its energy, and maybe by 1989 I'd experienced too much else within the metal realm to be turned on by this type of thrash. Even so, 'Alice...' majestically sits alongside the likes of Megadeth's 'Rust...' as being a complex, relentless but sweeping record that deserves its accolades many years later. Although the band would go through several line-up changes - the various band members simply playing second fiddle to main main Waters, a la Chuck Schuldiner and Death, there's no denying that Annihilator are a cult metal act who never quite made the big time. The first handful of records were certainly where it was at, but like Metal Church and their glistening decibel's of harmonious power metal, Annihilator will simply have to exist as another of those much admired and highly talented bands who for some strange reason never made the big time - but remain all the more potent for it. Good stuff.

8/10

Autopsy - Shitfun (1995)

The gore gods lower the tone for the final time and 'Shitfun', complete with excrement-noshing sleeve, will leave you wanting to shower for days. No-one does it better, gloomier or sicker than these guys - guitars sounding like sleazy dregs, drums are the bangs of the slaughterhouse door, and the watery vocals vomit from some long forgotten quagmire of ill ooze. I'm not sure you want to track titles - but you're gonna get them anyway - 'Fuckdog', 'I Shit On Your Grave', 'Blood Orgy', 'Maim Rape Kill Rape', 'I Sodomize Your Corpse', to name just a few of the twenty-odd gore-infested tracks on offer - oh the beauty of it all. Some will find such fetid noise a waste of time, others will understand the Autopsy phenomenon as something classic in a death metal sense. The 2003 reissue comes with an orgy of live tracks which are sure to keep the maggots in the coffin happy as they munch on your withered carcass.

7/10