Manilla Road - The Deluge (1986)

Laughably epic metal - all competition scurrying like trolls from the bridges they crawled from under. Manilla Road are one of the truest metal bands, and they make an almighty noise, a sound so big that the likes of Manowar can only cower in fear. These guys have influenced so many bands, from Kick Axe, to Darkthrone, their tales of lost and magical lands woven in between those gargantuan guitars and crashing drums which sound as if the ocean is about to roar in through the front window. How can one descrube the almost eleven minute title track with its mood changes, warrior vocals and soaring, swirling guitars, it's like Desolation Angels amplified, the true sound of Thor's mighty hammer destroying the earth. Total blitzkerieg, the cover art doing its best to depict what this monstrous band are about. Don't know where to start or end except to say that this is their fifth adventure and one that conjures up images of fearsome beasts and evil enemies, all being slayed by the axe attack and vocal delivery which, although clear, is so darn epic that album can only stand as some ancient monument, a beast to which all other albums must stand against. 'Hammer Of The Witches' is such a raging masterpiece that only a record label called Black Dragon could put out such an oaken opus. The fury of 'Rest In Pieces' stands as proof that our so called heroes such as metallica, are not all they are cracked up to be, because once again here is a colossal band that have carved their own furrow like some truly gigantic plough. they may not have sold millions, but boy, this IS heavy metal and that's the highest compliment I can pay, and as that bell tolls to start the horror soundtrack-esque 'Morbid Tabernacle,' I too find myself running for the cushion where I can hide my eyes...but not my ears, which have succumbed to the wizard's cry. 9/10

Touched - Death Row (1986)

Vocalist reminds me of what Rod Stewart would sound like if he joined a metal band, especially on the slow building Zeppish 'When I call Your Name.' When I first heard this record I thought it was going to be some satanic thrash workout, the cover painting all sorts of dark imagery, but instead it's a solid ball of black basement rock from the UK. The album has a low budget feel and most of the time has a very live feel, as if the band were playing in some type of empty hall when they recorded it. I'm loving the sneer of 'Night Of The Halloween,' (silly title) and whilst slightyl out of tune at times, this is very much a plodder that grows with each listen even if it doesn't offer too much in the way of musical brilliance. 6/10

Treat - s/t (1992)

I knew nothing about thrse guys but if someone asked me to describe the best no thrills, straight down the line, rock band then I'd have to say Treat, because these guys really rock. I was impressed by the War babies debut, but this record sounds like it's only just come out so fresh is it, and those vocals from Mats leven are majestic and bolshy. There is something incredibly bombastic about Treat, the lush guitars, the big production, the crashing drums and those well crafted rock songs which come in their droves, from the strutting 'Alright Now', the organ drenched 'Poor Man' and the gentle acoustic ballad 'Justice.' 'New Religion' has a country, bluesy tawng to its swagger - complete with horns - think of Electric Boys at their most soulful, and there's the uptempo rocker 'Dog Day Comin' where Levens gives Seb Bach a run for his money. I can only describe this record as plump, a bulbous sound full of big choruses, and clearly sinful that it isn't a big seller. 8/10

Dr Know - Wreckage In Flesh (1988)

Dr Know may have begun life as a punk outfit but this is very much thrashcore or whatever you want to call it. This is without doubt my fave Dr Know record, a refreshing record made all the more different by Toucher's vicious snarl and catchy structures, check out the ultra cool down and dirty 'Slice Of Life' and sombre doom trudge of 'Mastermind' which sees the band as masters ofr crossover. Alongside D.R.I. and Excel, Dr Know were kings of delivering humour but also serious music, and 'Wreckage...' showed a lot of current thrash bands at the time how to do it. 'lake Of Fire' has en epic metal feel to it, the band sounding as if they've played this style forever. I'm just obsessed with the Toucher yap, 'City Wheels' reminding me of Holy Terror in its approach with those raspingw ails. Really enjoyed this album back in the day and today. 7.5/10

Savage Steel - Do Or Die (1988)

Oh yeeeaahhhh! This is some raging metal from the late '80s hell bent on raising those fists, and what a great album cover - mean and moody - and with a cut like the rollicking 'Men Of War' how can you go wrong. This is extremely solid metal, some great speeding guitars give it a thrashy power metal edge, and vocally it's like a lighter Bruce Dickinson at times, but give me this any day, 'It's Do Or Die' has a Gothic Metallica clunk to its intro, before the drum rolls into a hyper speed pounder complete with Gleneicki's screams. Conventional metal it may be but it has enough meat and speed to sit alongside a band like Nasty Savage. Do or die! 7/10

The Four Horsemen - Nobody Said It Was Easy (1991)

The early '90s were a great time - sure, they put pay to much of the dungeons and dragons metal of the '80s, but boy was it a good time for alternative metal - until grunge came along. The Four Horsemen were the band I wished The Black Crowes were, combining a dirty, sleazy oily swagger with the attitude of a stadium band. Many compared the band to The Cult and Zodiac Mindwarp - probably because guitarist Haggis once nested with both bands, but this time round it's more boogie orientated without getting too bluesy, the cool groove of the title track is a grower, and the killer slide rodeo of 'Tired Wings' is simply dirty rock n' roll, as is the hip shaking 'Rockin Is Ma Business.' If you're tured of those countless dull Cult albums, then the least you can do is rub your face in the dirt of The Four Horsemen for some drunken fun. 7/10

The End - Gusto (1991)

I think that anyone who likes The Doors, The Cult, Claytown Troupe, U2 and even the more alternative Last Crack will find something good in The End, especially when they hear the hammond driven and breezy 'Destiny'. There's something nice and pleasant about The End who didn't quite break into any alterno metal rooms and make a statement. This band are not metal, but if you can imagine a lightweight I Love You, blessed with that psychdelic edge and a hint of pop then you be sdomewhere halfway to unearthing what this band are about. Of course, it didn't really last, the band probably didn't get any type of push but would most certainly have made a good opening act for other bands such as The Front etc. With an element of funk and soul too, it's hard to know where they fit in, but Jerry Ewing of Metal Forces magazine described them best as a "colourful bundle of noise." 6/10

Panic - Epidemic (1991)

Okay so it's an unremarkable name for a band, but this is a qulaity thrash record produced by Exodus members Gary Holt and Rick Hunolt. If I had to pigeon hole it then I'd compare Panic to early Sacred Reich with more of a grooev going on, check out the rolling riff of 'Blackfeather Shake' hardly the sort of title you'd expect on a thrash record. Real shame bands like this slipped by the wayside, sadder still that they only get a year to vent their fury before the invasion of grunge, worse still that these guys hailed from Seattle! Very much a Bay Area crunch going on at times with 'High Strung' and 'Hellfire Club' so there's a lot on offer for the keen thrasher. 6.5/10

XYZ - Hungry (1991)

'Hungry' is a far ballsier record than the band's timid debut, plenty of hip shaking, crotch grabbing guitars this time round, still elements of Dokken and a few Skid Row comparison's but nice to see that the band upped the anti with 'Hungry' and took their time to write some sturdier tracks, 'A Roll Of The Dice,' the sassy 'Feels Good,' the fiesty 'Don't Say No' and darker edged 'Off To The Sun' with its unexpected chug make for quite a refreshing listen , if slightly formulaic. 7/10

Lucy Brown - s/t (1991)

For those not in the know - and there aren't many who do know - Lucy Brown were a hard edged funk metal act who released one album for Megaforce, but fizzled out after an EP, the singer sadly dying of a drug overdose a short while after. Musically it's kinda Living Colour, with a very metallic and darker edge, no silly gimmicks or face pulling thankfully - lots of funky bass, imagine a cross between Naked Truth and 24-7 Spyz delivered with sweaty energy. Quite bruising after a few listens however. 5/10

Solitude Aeturnus - Into The Depths Of Sorrow (1991)

Solitude Aeturnus really got my back up back in the day. I guess it wasn't their fault after all I'd been used to hearing the monolithic slabs from Candlemass, Cathedral, St Vitus, pentagram etc. Maybe it was Robert Lowe's vocals, were they just too pure for a doom band ? Well, lookng back I think I was pretty narsh on these US doomsters and am more than happy to go back on myself and say that 'Into The Depths...' is a pretty solid doom metal record, hardened by the fantastic guitar work, even if I'm still slightly unsure by Lowe's mournful cries which don't seem forlorn enough for me, but even so, a cut like 'Mirror Of Sorrow' is still pretty epic, riffs - cumbersome - cascading down like fog over those crystal wails, whilst the eight minute 'Transcending Sentinels' is divine in its craftmanship, beginning as a swaying autumnal tree before stepping headlong into a dark haze of gloom. 'Destiny Falls To Ruin' continues the sombre stare, but again I'm slightly put off by the vocal caress, but hey, ya can't please everyone, but if you are a big fan of doom metal then I'm sure you'll find 'Into The Depths...' rewarding, but for me those depths are not sorrowful as they could have been. 7/10

Crucifixion - Green Eyes (1984)

A bit of an oldie this one, but a good, albeit stuffy EP at that. Classy NWOBHM that sits nicely alongside the half-hinted darkness of Witchfynde and Angel Witch. The title cut is a mid paced rocker, as is 'On The Run' despite the wobbly vocals but 'Take It Or Leave It' and the buzz of 'Moon Rising' are much better offerings, whilst the chug of 'Death Sentence' ups the anti and the volume. Imagine a lighter Motorhead mixed with already said bands, and Crucifixion is where it's at. 6.5/10

Druid - Vampire Cult (1989)

Another obscurity from the dusty vault. This has a strong, old fashioned Sabbath feel, especially in the riffs of songs like 'Claws'. This very much a New Wave Of British Heavy Metal album I guess, boasting many flavours, striding into epic metal before slipping into something more stuffy. The vocals are clear, witha slight high wobble but on tracks such as the monolithic 'Word Of The Lord' you'll be thinking this band are from the same graveyard as Witchfinder General and Pentagram. Druid (col name) really are a good find, and there's something distinctly unusual about the hole affair, particularly on tracks such as 'Crossover' and the bizarre 'The Joker (Take The Thrasher's Surfing)' but these blips aside, this is a real doomy yet upbeat rocker. 7/10

Black Sabbath - Tyr (1990)

Tony Martin may not be Ozzy Osbourne, and he isn't Ronnie James Dio, and 'Tyr' isn't able to lace the boots of any album featuring either of those two metal gods, but... this is still a worthy heavy metal album from the '90s, even if Iommi's riffs seem on the lighter side of doom, but what can we expect, we're never gonna get another 'Paranoid,' 'Cornucopia' or 'Black Sabbath' but the guitar master is still able to cast his magic wand of doom. 'Anno Mundi' has all the ingredients required to make it a Sabbath classic, Martin, an underated vocalist if ever there was one, gives it his all has Iommi's thunder booms over those keyboards, giving this a 'Wicker Man' movie feel, with its eerie chants and cosmic tinkles. It is still rather cringeworthy to read Sabbath 'fans' commenting that Martin is a better vocalist than Ozzy, it's a laughable statement considering what the charismatic Mr Osbourne achieved, but let us not underestimate Tony, he's clearly not crooning through 'Tyr' as an understudy of Ozzy or Ronnie, and on the nine-minute 'The battle Of Tyr/Odin's Court/Valhalla' his vocal prowess paints pictures of foggy moors and distant lands. Some have described this album as Viking Metal - I can see where they are coming from when you hear the epic 'Sabbath Stones' which stands as some neolithic symbol to the ancient past. 'Feels Good To Me' has a more sultry feel to it and it is these type of moments that make 'Tyr' more of a distinctive rock record rather than a true Sabbath album. Sure, Sabbath have tried to move with the times, the anchor to life being the ever present Iommi, and wilst I can't knock the guy for sticking with it but this album labours, and lacks the genius one would expect from a Sabbath album. the facts are that without Ozzy (obviously) and Dio, Sabbath are simply a very good heavy metal band, but a band that doesn't live up to its past, but in the end how can it, when what has gone before was so high and mighty. 'Tyr' is very good in places, but it cannot compare to the ungodly delights of 'Paranoid,' 'Sabotage' blah blah, but we knew that anyway. Too many runes spoil the cauldron broth. 6.5/10

Sinister - Cross The Styx (1992)

Heavy, downtuned death metal that doesn't sound unlike so many other bands, but as proven here, it's not always about originality, moreso the qaulity and Sinister have it in abundance, creating a few weird stratospheres on their debut record, mixing occasional blast beats with slower, downtuned morbidity, classic examples being the intense 'Spiritual Immolation,' 'Epoch Of Denial' and the pummelling 'Putrefying Remains.' Even so, Sinister don't really do enough to separate themselves from the masses, some will find this rather bland in its extremity and would prefer the perverse noise of Gorguts, but 'Cross The Styx' is still a deathly debut. 7/10

Big House - s/t (1991)

Formulaic, melodic middle of the road rock with a few big, luch choruses for good measure. These Canadian's caused a little stir back in the day, particularly their 'All Nite' track with its infectious hooks and tasty chorus, Jan EK's vox all smooth and sultry and at their most subtle on the minor hit ballad 'Baby Doll,' but in reality,the album doesn't really go anywhere, merely existing as wiltin pomp rock way out of its time. 5/10

Dyoxen - First Among Equals (1989)

Very interesting and melodic thrash that has a greatd eal of soul in its approach and boasts some incredibly catchy, almost classic rock and NWOBHM grooves amidst those flailing solo's and heavy riffs. I was pleasantly surprised when I first heard this, these Canadaian's caused quite a buzz, especially in that vocal department which has more of a connection to Mordred's Scott Holderby rather than your typical thrash or metal frontman. 'Overcome' has a real melodic groove to it, the badn effortlessly able to melt Bay Area speed and chug with an almost Thin Lizzy then Living Colour groove. I'm not sure if this was too clever for its time, me thinks these guys probably faded away afterwards, but when one hears the epic structrues of the title track and then the almost funky (but not too funky!) yet techno thrash oddness of 'The Essence Of Ignorance' one can only applaud such brave experimentation. Michael Scott Sanders' vocals may be an acquired taste for some, but for me these smooth tones compliment the music wonderfully as the grooves shift with ease between thrashcore and classic, albeit soulful rock. Cool stuff. 7.5/10

Eviction - The World Is Hours Away (1990)

Meaty thrash with socially conscious lyrics - hunger, homelessness, etc, all given a good going over, the band made all the more notable by the gruff vocal delivery of Porter. Mostly mid tempo metal that doesn't really show signs of progression, each track flitters by with a sameness to it, despite the band clearly being accomplished musicians, particularly on 'Our World' and 'Living In Emptiness' with its heavy groove riff. Far greater records have been released by Metal Blade but this isn't too bad although it does lose its appeal after a few listens. 6/10

Precious Metal - That Kind Of Girl (1988)

I really like this all girl bubblegum rock band - how can you not like the infectious 'Sweet Sweet' with it's child-like "Who said anything about love" playground chant as Knauer's hearty vocals warm the cockles over the double lush guitar attack of Robin and Fox, it's irresistable. And so is the irritatingly catchy glam stomp of 'That Kind Of Girl' with its Blondie-esque jig. Many would find this all too innocent and sugary, but there are a few weightier moments such as the middle of the road rocker 'Anybody's Lover,' all done for fun and nothing more. Not a record for the thrashers or satanists among you! 7/10

Acridity - For Creedom I Cry (1990)

An obscure Texan band, who released this six tracker in 1990 and were never to be heard from aagin. This is a better than average thrash workout that reeks of obscurity, exhibiting clasic aggression with Carroll's vocals that have a hint of dark Angel's Ron Rinehart. There's nothing spectacular here but it's nice that the band experiment with some mid tempo structures rather than resorting to hyper speed. There's also a strong feel of early Metallica, especially on 'Beyond', which is probably the main reason the band loitered in limbo, clearly finding it hard to find an identity. 5.5/10

Atrophy - Violent By Nature (1990)

I was a big fan of Atrophy while they lasted, two solid records bursting with rampant thrash. Love the album covers too. Can't deny the Slayerism's of the oddly named 'Puppies & Friends' but don't let the title put you off, this is razor sharp speed metal with nods to Exodus, and 'Right To Die' has some incredible guitar and bass work, Zimmerman's vocals a strong rasp giving the record a thick layer of aggression. This is what the late '80s and early '90s thrash scene was all about, some cracking melodies on offer ('Too Late To Change'), stunning mid tempo passages but mostly some staggering speed. Atrophy were a cracking band. 7.5/10

Princess Pang - s/t (1989)

This female fronted Swedish/US sleaze rock act may be fronted by a woman - Jeni Foster - but this is far meatier than the predictable cat scratch fever of Johnny Crash. The album kicks off with the ballsy mover 'Trouble In Paradise' which gets its hooks in straight away, an infectious groove blessed with a bluesy riff and they aren't afraid to head for the sultry either with the twang of 'Find My Heart A Home.' Sure, it seems predictable, but the attitude here is what counts, at times there were too many fake bands singing about cogarettes and alcohol, but although this was PP's only record, it boasted a number of top tunes and those pipes of Foster made it all the more refereshing and rocking. 7/10

Johnny Crash - Neighbourhood Threat (1990)

Sounds a lot like AC/DC in that rhythmn department if you ask me, especially the swaggering 'No Bones About It' which kind of pales in comparison to say Faster Pussycat. 'Axe To The Wax,' and G n' R ripped MTV hit 'Hey Kid' follow suit, with slight annoyance, all rather formulaic for the time, countless bands doing the same sleazy swagger. Hard to believe these guys started in the UK and shipped their butts to the US, but even so, it's al rather cliche I'm afraid, but the one high point being that it's not weak in the music department, keeping those AC/DC influenced grooves riding high with the typical scratchy vocals over the top - I much preferred cats n Boots and EZO though. "Hey kid, look what you did...mama blew her lid," hardly lyrical dynamite. Sums it up. 5.5/10

Crash n' Burn - Ride The Rainbow (1991)

I guess I'm one of the only people who think Crash n' Burn's track 'Ride The Rainbow' is one of the best hard rock tracks ever written! The Guns n' Roses kick, and the sway of the chorus reminds me of something the wondrous band I Love You would've come up with, effortless sleaze rock that just careses the soul. Then there's the twang of 'River Of Love' with its hand clapping happy vibe, the hair metal anthem 'So Close To Me' with its balladesque croon, and not forgetting the kick ass 'Wild Cherry' which shimmers and shakes. There's a bubblegum quality to this and the most astonishing about the whole package is the fact that the band aren't from sunny Los Angeles, but rainy Britain. Grab it. 7.5/10

Overkill - Horrorscope (1991)

When the title cut marches in like a mighty metal dinosaur, you may begin to ponder just what happened to Metallica, but who cares when you've got bands as mighty as Overkill still stomping the city down. I am happy to admit that I was neevr endeared to this band upon first listen but over the years they've gotten stronger, and 1991's 'Horrorscope' is a juggernaut of a record that revels in Sabbathesque thrash doom behind Bobby's sneer, this album boasts some of meta's finest riffs ever put to record, the New Jersey combo carving their own niche, making thrash fashionable by being unfashionable! The cool, crushing Anthrax-style crunch of 'Infectious' and the fantastic head nodder 'New Machine' must have destroyed many a mosh pit. For me, Overkill epitomise what thrash is all about - the vocal delivery and chugging riffs, at whatever pace are what bands are still trying master, but all you need to do to revert back the glory days is lend a melted ear to Overkill, and the fact they are still going strong only bolsters their reputation. Chug on! "We are the children of a new machine..." may be the vocal cry from Ellsworth, but the machine they created was never broken in the first place. 8/10

Chrissy Steele - Magnet To Steel (1991)

I'm sure a lot of metalhead's would have leered at Chrissy when she appeared in the metal press, but how many of those buffoon's would have spent their well earned pocket money on the record ? Those who mocked such female rock - in my opinion anyway - would have missed a half decent, middle of the road rock record. Okay, so it's not the aggression of Meldrum, or even Phantom Blue for that matter, there's something very sultry about it all, the rodeo rock of the title track is perfect drive time mood music, and I can also imagine cuts such as 'Cry Myself To Sleep' on late night radio. Chrissy does have a steady behind her hwoever, and probably a few accomplished song writers too, so I'd happily place this alongside Femme Fatale as being a slab of ballsy bitch rock, so good on her. 6.5/10

Defiance - Product Of Society (1989)

Cool (isn't everyhting on here ?!) Bay Area thrash, Defiance never got the recognition that the likes of Testament gained, but 'product...' which has more of a hardcore edge, sees the band writng some killer tunes blessed with moshing chants, such as 'Deadly Intentions' and 'The Fault' although choppy vocals do let the record down slightly. There's nothing remarkable about Defiance here, but when you hear the tight musicianship on a track like 'Tribulation' you can only applaud even if bands loike this were fleeting. Certainly not the strongest thrash act around but one of many who created a potent scene. 6.5/10

Crimson Glory - Transcendence (1988)

Now here's a metal album that refuses to date. It's been argued that vocalist Midnight is one of, if not the greatest metal singer of all time. Now sadly deceased, 'Transcendence' is just one of those metal albums that has everything for the metalhead. Crimson Glory werea w onderfully wistful and complex heavy metal band who stirred the emotions with their dark, brooding classic style of metal that reminds one of some type of glorious film soundtrack, the majestic title track reeks of a Zeepelin grace, whilst 'Painted Skies' soars like some Dio-esque opera, only far more clinical and wondrous, lifted to even higher levels of grace with those sultry vocals, 'Burning Bridges' and 'Red Sharks' conjuring more fantastic horizons, the album drawing the listener into a web of acoustic trances before unleashing a powerhouse of technical fury, 'Lady Of Winter' a perfect example of how Crimson Glory have perfected the art of progressive metal. Some may find this a little too epic, but one can't argue with the passion and prowess. Darkly magical. 8/10

Cry Wolf - Crunch (1990)

Okay so enough of the thrash for now...Cry Wolf couldn't be more removed, this is crystal clear melodic metal that within a year had died a death. Even so, worth a listen, because I'm liking the sweet vocal delivery of Timmy Hall and those crisp guitars on mid tempo rocker 'On The Rocker.' Sure, it's hair metal, so you kinda know what to expect, but some is better than others, and 'Crunch' is a good record that isn't afraid to rock, 'Sto Look Listen' is a hyper boogie, boasting some cool guitar licks from Steve McKnight, whilst the bass-lead 'West Wind Blows' is a little scorcher of a track, all pout and pose. I'm not gonna knock it, it is what it is, but anyone who doesn't like the sweet crunch of 'Road To Ruin' clearly isn't a metalhead. 7/10

Sacrifice - Soldiers Of Misfortune (1991)

Very cool, well produced thrash courtesy of Fringe Records, not sure how well this one sold back in the day, but if you've never heard of it then you need to get yourself a copy. This one of those rare gems that deserved recognition. I've played this quite a few times, endeared to the thrashing rage by the vocal rasp of Rob Urbinati who also plays guitar alongside fellow axeman Joe Rico. This is exceptional at times, the band sharing labels with Razor, but for me these guys probably edge it, mainly because of their ability to slow things down and provide some startling melodic moments, particularly the brilliant title track where Urbinati comes alive with those nasty sneers. 'Soldiers Of Misfortune' boasts so many ominous atmospheres, the brooding 'A Storm In The Silence' is one of the best thrash tracks I heard at the time, bettering anything done by a majority of the Bay Area acts. 'As The World Burns' another slab of nefarious, toxic thrash, Gus Pynn's drums ruling the roost. Hard to believe this is the band's third album, so what are you waiting for ? 8/10

Poltergeist - Behind My Mask (1991)

A release from Century Media that at the time passed me by, but this is pretty decent Euro thrash with melodic vocals courtesy of Andre. Te title cut is a speedy rocker with chanted chorus, as oen would expect from so many '80s and early '90s thrash bands, but this is technical thrash witha hard edge,a nd one of those obscure releases that you need to discover so many years later. I'm not saying these guys could've been the next best thing, far from it, but with the complex structures of 'Delusion' and the wistful chorus of 'Drifting Away' suggested a band of amny talents who just never got the break they deserved. I don't know to much about Swiss thrash but this is good stuff. 7/10

Witchhammer - 1487 (1990)

This is clean, cutting Euro thrash that is actually quite excitinga nd refreshing in its powerhouse pomp. I'm thinking touches of early Metallica mixed with Artch, Helloween and some great melodies, favourite track being the catchy 'Enola Gay' and the fantastic 'Kill All In Sight,' really good stuff, especially the vocals of Per Stale Petterson who gives the album a real classical feel, matching the competition with his clear, soaring vocals. Top riff on the record is the slab that is 'Burning Court' which is more power metal than thrash mosh up. Find it strange that Metal Forces magazine gave it 60/100 back in the day, I guess 1991 was signalling the end of this sort of stuff, but fair play to these Norweigan metal heads who've carved out a well executed, driving metal album that sadly didn't register with the masses. 7.5/10

Rigor Mortis - Freaks (1989)

I was such an idiot for not buying this back in the day when I saw it on vinyl - I think it was on import so probably too expensive, but even so, this is pretty cool thrash that kind of melts together the likes of Dark Angel (although less accomplished), Hallow's Eve and as expected, Slayer with a harsher vocal attack. Mostly lightning fast, especially on the hyper title cut but I'm liking the dense, morbid chug intro of 'Cattle Mutilation' although the macarbe trudge doesn't last long, the band once again headlong into hyper spheres whilst 'The Haunted' offers some variety and killer guitar work. 'Freaks' boasts one of metal's greatest covers too so what more do you want? 7/10

Paradox - Product Of Imagination (1987)

Oh what a great time it was...the soundtrack to my youth. Paradox were a cool, Bay Area style European thrash act, well-crafted melodic speed metal,well produced, and on the seven minute title track showing a maturity that sadly never enabled the band to become as big as many other thrash acts at the time. The guitar work is stunning at time, the riffs cutting and chugging aplenty, a real wholesome record that stabs, jolts, kicks and twists - at times Bay Area thrashers Mordred come to mind. 'Mystery' is an underratede mini masterpiece that can't help but crush the skull with its feverish speed and 'Paradox' could easily be mistaken for early Death Angel in its ferocity. That's not say that Paradox are derivative, it's more than above average thrash that epitomises a great time that sped by all too quickly. 7/10

Steel Vengeance - Prisoners (1988)

This has got to be one of the best metal album cover's of all time - reminding me of the type of design thrash metallers Exciter used to go for. But, does the music match the suspense of that sleeve ? Er, well, partly. Steel Vengeance are an above average all fire and ice metal act who never really progressed behind the fire, blood and black leather cavern, but I still find this intriguing, wishing that I had it on vinyl and I could stare at that cover. But enough of that cover, let's talk about the music - especially the title track with its nice acoustic intro and buzzing riff, but the downfall of the album are the fragile vocals which get swallowed by some accompliahed guitar solo's, and the production lets it down big time, but hey, I'm a sucker for stuffy production and dungeons and dragosn metal, and I can't help but adore the dark, killer riff of 'Destroy.' No harm in losing yourself in this type of basement metal. 7/10

Death In Action - Toxic Waste (1988)

When was the last time you heard a thrash metal album with the lyrics, "Only when the last fish has been caught..." ?! This is obscure German thrash that never really rises above mediocre and under produced, but hell, this is still essential for those who like to dig out lesser known species. There's nothing original about it, but Death In Action do try their hardest to make this seven-track record a rewarding experience, throwing in a few nice acoustic passages - as most thrash bands did - and the occasional buzzing riff, nothing really fancy, rather limited but better than Shitsnot. 6.5/10

Znowhite - Act Of God (1988)

A glorious thrash metal record that may boast a terrible sleeve, but that's the only thing wrong with this mini masterpiece. Not often you hear a thrash band fronted by a cool female singer - Nicole Lee - her voice caresses with cold steel execution and is backed by some incredible riffage. Znowhite never really got their just rewards but all the time these type of records remain out there it means that thrash heads can dig deep into the metal archives and experience the '80s once again. You won't get thrash metal like this anymore, the same could also be said for the likes of Anacrusis, Toxik and so many others who faded away, but like the mentioned bands, Znowhite have given us a superb record that every thrash metaller should own. This band know how to create crunching melodies, just check out the monster mosh of 'Pure Blood' and the thunderous 'war Machine' which reminds me of mid career Metal Church with its pure vocal delivery and wonderfully executed guitar work. Not a gem to be forgotten.

8/10

Two Bit Thief - Another Sad Story In The Big City (1990)

This was a pretty cool band who combined the sway and swagger of Skid Row, War Babies, The Cult, AC/DC and The Black Crowes, fronted by rather aggressive vocals for a rock n' roll act. Not just your avergae sleaze parody, but something more rebellious, wayward and suave, particularly in the Faster Pussycat style strut of 'One Sad Day' and the pumping 'Industry.' Quite a rewarding little band for their time, almost blending a hardcore, streetwise attitude to their already ballsy serenades. 7/10

Nuclear Assault - Something Wicked (1993)

If there was one thrash band on earth that could geta way withj a few comedy interlude's it was NA, who in reality never took themselves too seriously and yet when they got down to the nitty gritty were one of the best US thrash bands around. I remember constant debates with my cousin back in the day as to how good Nuclear Assault were, so fired up were we by their 'Survive' album. Nuclear Assault may have had a few line up changes by the time 1993 came round, in fact the whole scene was fighting for its life, but despite one or two jokey moments, 'Something Wicked' is still a good solid thrash record which sees Connolly's rasp tinged with melody and Evans' srums slightly stifled and a funkier groove on tracks like 'Chaos', but unlike Sacred Reich, NA still remained a frantic bunch, the hyper 'To Serve Man' and crunching riff of 'Madness Descends' being quality thrash tracks, but I guess by this time it was pretty much to little too late, the scene fading despite some excellent albums still being produced, but for me NA will always have a place in my heart and it was good to have them back in 2005 (see review). 7/10

Sacred Reich - Independent (1993)

A perfect example of how not to run a 'thrash' band. Arizona moshers Sacred Reich for me anyway, began to sell out when they sprinkled their album 'The American Way' with darn funk metal, but I would've never expected such a timid release as 'Independet' which sees the band lost somewhere in the early to mid '90s blandness. I had to review this record simply to show how easy it was for bands to stray from their usual and natural territory, and succumb to the man. 'Independent' is an irritatingly dull record, Phil Rind attempting some type of melody with those vocals only to find himself often out of time and tune, particulary on the melodic and seemingly grunge indfluenced 'I Never Said Goodbye,' but the most shocking track on offer here is 'Crawling' with its riff stolen from Sabbath's 'Hole In The Sky,' a song that attempts some type of C.O.C./Trouble groove only to fall flat on its face. Now, I'm not saying that bands of this ilk shouldn't experiment, hell, Death Angel were masters at their art, but Sacred Reich should've disbanded and reformed under a different name because this really has tarnished their reputation, but now the days of their debut 'Ignorance' seem a long time ago and it's no wonder there aren't any immediate plans for a reunion. The bands back catalogue is so sporadic and inconsistent that it only grates on me, only 'Open Book' attempts any sort of thrash and that's an overstatement. I guess a lot of bands felt it was time to move on when grunge invaded but I don't think it's right to continue under the same monicker when clearly the sound the band are producing has no meaning to its original foundation. 4/10

Sodom - s/t (2006)

The German wrecking machine rolls on - I read a few bad revoews about this album but had to laugh - Sodom are pure, or should that read impure, wicked thrash - simple as that. As mentioned in my review of Destruction's 'Day Of Reckoning' this is pretty much where it's at now with thrash, bands from all corners of the earth reuninting the past and taking extreme metal to a new level of aggression. Sodom have bene part of the moment since many had written it off back in the '80s - how the sceptics mocked the band, and others such as Celtic Frost but the reality is, the majority of European bands destroyed their American rivals, especiailly when it came to originality. Sure, the Bay Area had the crunch, but look at Voivod, Celtic Frost, Coroner, Kreator, Destruction, Sodom - these guys were taking the darker, more rusted elements of Venom and speeding it up to produce down n' dirty hyper thrash but often with a sinister twist. Sodom continued with that theme into the millennium, this self titled album boasting great quality, particularly in songs such as 'Blood On Your Lips' with its gurgled, and whispered vocal intro and the chuggernaut that is 'Bibles & Guns' which beats Slayer at their own game. Hard to fault something to intense. 8/10

Destruction - Day Of Reckoning (2011)

There are so many albums by Destruction I could have reviewed here, and will eventually get round to doing so because these German thrashers have been going at it since the early '80s and remain flawless in their execution. This is steaming thrash metal that cuts through the bone - a band so consistent in their brilliance and speed that they sit high in a table that consists of other premier Euro thrashers such as Kreator and Sodom. In fact Sodom is a band I could easily compare these guys too, not in their sound necessarily but in the way they've trudged on through the harsh times and fads to continuously produce high class aggressive thrash. Whilst Slayer, Anthrax, Megadeth and most certainly Metallica went off the boil in the mid '90s these type of bands stayed true, and 'Day Of...' is just another entry in that chaotic back catalogue, a pile of records that all thrashers should own. Destruction are not interested in making their sound more melodic (although they have the ability to remain furious whilst injecting melody), instead they believe in their ability to vomit out bruising metal, track after track, boosted by some amazing guitar licks and monster riffs, rarely letting up for breath - the cuts smash through the door, violently, 'Misfit,' 'Sorcerer Of Black Magic' (personal fave), 'The Demon Is God' and 'Armageddonizer' somehow making thrash sound so refreshing, and hopefully bringing in new fans along the way who I'm sure will find the discography of these German's maniacs impressive. 8/10

Donnie Vie - Just Enough (2004)

I'm struggling to understand why I haven't reviewed this album previously, or maybe I have and it's got lost somewhere. So, for those who have had their head up their arses for the last decade, Donnie Vie is the enigmatic frontman for Enuff Z Nuff and 'Just Enough' was his debut record from 2004, a record so sublime, sad, and yet uplifting that it exists on another planet. Donnie Vie, along with his sugary glam rock band should've been massive - often described as the 'heavy metal Beatles,' Enuff Z Nuff (see reviews) have an uncanny ability of creating truly magical songs in the vein of The Beatles yet with a sleazy edge. Vie's solo efforts are more dreamy, softer, more wispy and yet just as great, in fact in the standout song 'Forever' we may well have found one of rock's greatest yet undiscovered gems, a beautiful song that equals, in my opinion, John Lennon's mighty 'Imagine' for its purity. Vie has always boasted a fragile style of pipes, making his skeletal guise all the more endearing, but behind those broken streams of wonder sits one of the greatest artists of our time, a man capable of writing stadium filling ballads and summer time joys, whether in the form of 'That's What Love Is' with its strained, pleading vocal cries, to the upbeat salutations of 'Better Days,','Blowin Kisses In Tne Wind' and 'I'll Go On,' The Beatles have never sounded so great! 9/10

Razor - Malicious Intent (1986)

I've said it before and I'll say it again, Razor are probably THE thrash act that should've played to larger crowds, because not once in their career did these maniacs let up in the fury. Their albums from the '80s are testament to strong will and homicidal tendencies, because to listen to such a record is a rewarding yet painful experience. Razor are a real thrash band, full steam ahead, aggressive, rough, and primal, combining ocasional bursts of Slayer-esque fury with their own hateful frenzy that quite literally reduces the opposition to ash. Whether it's in the hostile vocal department or the laughably great and sadistic guitars, 'Malicious..' is just one of those hyper records that you have to prepare for or else suffer the consequences. With a track like 'Night Attack' and its Possessed feel, or the Slayerised stab of 'Cage The Ragers,' I can't recommend this bands back catalogue enough, but don't blame me for the lacerations. 8/10

Voivod - Infini (2009)

The immaculate monster returned in 2009 with one of their best records to date - still, albeit natural (or should that be supernaturally!) removed from the early days, Voivod have neevr sounded the same on any album, making a career spanning Pink Floy-esque weirdness and psychedelia melted into an iron lung hotpot of barbed wire thrash, smoking black metal and mechanized avant garde surrealism. 'Infini' treads similar ground, only in the fact that it's another Voivod mutant, the only predictable feature about the French Canadian's being their unpredictability! Whether it's the Motorhead-clank of 'Volcano', in which Snake sounds like the bastard offspring of Dave Mustaine and his former self, to the epic slow burner 'Morpheus' which casts the listener headlong into icy pools of varying netherworlds. 'In Orbit' nods to the cosmic days of 'Dimension Hatross' and boasts a Godflesh feel in its industrialized structure - all the while Snake effortlessly slips between the cracks with his weird sneers and spiky tongue. Voivod are an infection no-one wants to treat, a contamination within the metal genre that exists as proof that metal is without doubt an unstoppable force that can bridges styles so effortlessly. Back in the '80s so many people placed restrictions on the genre, refusing to listen to other styles, and yet all the while Voivod were planting their seed, not simply shattering the boundaries, because in their realm there never were any...and thank Voivod's mum and dad's for that!! 8/10

Pentagram - Last Rites (2011)

I always found it annoying when people called Pentagram a doom band. The same could also be said for Trouble and Witchfinder General because these guys were in a field of their own. Pentagram are one of the only bands around who can still sound as though they're stuck in the '70s, and 'Last Rites' really is a nod to the blues soaked and oaken times, but all done in their own unique way, throwing in a few Sabbath-esque riffs made all the more ominous by Griffin's distinctive churn and with Bobby at the helm, this is a record that puts all imitators and followers to shame. From the get-go we are treated to the dense doom n' roll 'Treat Me Right' which boasts a Motorhead style bullishness, whilst 'Call The Man' has a more epic, bluesy feel, Bobby's almost lucid vocal croon lacing the black winds like a dove in flight. Then we've got the slower lope of 'Into The Ground' contradicted then by the monster mash riff of '8' and the stunning guitar stomp of 'Everything's Turning To Night' where Griffin really shines. By keeping eevrything so simple Pentragram have slayed what little opposition they already had, because instead of attempting to carve out monolithic slabs of repetitive doom, they have cruised along at their own creaky pace. 'Windmills & Chimes' is more of a folk rock soundscape than a doom yawn, it has a strong classic metal feel whilst the fuzz dirge of 'Walk In The Blue Light' and the creepy mutated Alice Cooper-esque crawl of 'Death In 1st Person' showcase the bands' flexibility, and yet proving just how original these guys are as, over te years, waves of Sabbath rip offs have come and gone, Pentragram, just like Ozzy's men, have stood high on the battlements and mocked all who cower below. 8.5/10

Gorguts - From Wisdom To Hate (2001)

Welcome to another alien nightmare courtesy of Quebec's death metal henchmen Gorguts. A few years on from the masterful 'Obscura' the band are still jarring the bones with their complex barage of hate. The band effortlessly breathing new life into a musical genre that many wrote off years ago. Whether it's the tortured vocals or the sharp angles and bizarre scales,Gorguts is always a nightmarish experience, a truly hateful ride into the depths of punishing death metal, but a sound that ensnares one within its intricate coils. Gorguts may have started life as a half decent, albeit ratehr bland death metal combo, but since their birth they've created some truly disturbing soundscapes, just check out the bewildering 'Inverted' performed at breakneck speed yet exhibiting some astonishing spasticated rhythms and then there's the arrogant pounding of the title cut and the twisted horizon that is 'Elusive Treasures'. Gorguts may not be everyone's cup of tea, but what's tea go to do with it ? There are so many reviews out there regarding these type of bands but I simply suggest you fork out the extra few quid and buy the cd's - the vinyl being hard to find - and sit yourself in a dark room and wait for the nightmare to unfold, but take heed, one listen of Gorguts is not enough, because this band are one of those rare talents that snag you and drag you in for more, even when you think you've had enough. 8.5/10

Morta Skuld - Dying Remains (1993)

There's something endearing about no thrills death metal, 'Dying Remains' being a quality death metal opus that sees the Milwaukee mob churning out mostly mid-tempo, sinister sounding aggression that brings to mind the classic elements of Death, Cancer, Morbid Angel and Morgoth with a vocal style a little less tame than John Tardy of Obituary. There may have been a lot of death metal bands around in the late '80s and particularly early '90s, but it's great to hear very solid records still seeping into the mid '90s when this sort of music was far from fashionable, and 'Dying...' is a classic example of a band standing their ground in the face of grunge adversity and cranking up the gloom. There is some seriously ominous riffage here, especially on the doomy 'Devoured Fears' and the title track, whilst 'Presumed Dead' shows some old school slaying with its feverish speed. Somewhat a cult offering that leaves a pretty hefty wound in the soul. Good stuff. 7/10

Souls At Zero - s/t (1993)

These guys formed from the debris of Wrathchild America and could well be considered nu-metal before nu-metal! That's not to say that SAZ are rubbish, far from it, this is bruising choppy metal that blends the aggression of Pantera with the occasional heavy groove of say the more obscure Jesus Christ. 1993 was a bad, bad time for metal, and many metal musicians of the '80s attempted to move into the new era with a more cleaner albeit groovier yet still heavy sound - Souls At Zero have to be commended for such a record, an album that boasts some severe chugging and muscular vocals courtesy of Brad Givens. 'Never' is a belter of a track whilst 'Frustration' has a Pantera feel. Pantera is certainly the band I'd compare SAZ to most,just a shame that onyl a clutch of albums down the line they disbanded, but hopefully with metal coming back there's still chance yet for a return. I can play this record and enjoy it but as this was a year that pretty much slammed the final nail into metal's coffin, I see no reason to go back to it as there seems to be a lack of emotion, leaving me cold and searching for deeper, darker sounds. 6/10

Cities - Annihilation Absolute (1985)

The album cover suggests some type of late '80s Bay Area thrash act, but Cities are far from it - in fact this from '85 and rocks as a tepid power metal/middle of the road metal album that occasionally has the ability to pump its fists hard. Not sure about the band name, but I used to listen to this rocker quite a lot and it's become a bit of a cult platter, serving up a menu of chugging riffs and beefy vocals that I can't really dislike due to their sincerity. In a sense this is a few years ahead of its time and for me sits nicely alongside the thrashier Meliah Rage, so put an hour or so by and give it a spin. 6/10