Epidemic - The Truth Of What Will Be (1990)

Reasonably impressive albeit rather Slayer-ized if you catch my drift. These American thrashers opted for their demo to literally be released as a record, a nine-track blast with some traces of humour ('Thigh Rubbage') but overall, some quality high speed metal with plenty of aggression. Patches of hardcore pepper the record and vocally it's rather Tom Araya but more naive, but your average thrasher will find a lot to get ones teeth into, particularly the ferocious 'Live Your Death' and 'Three Witches'. You could do a lot worse.

6/10

Prong - Primitive Origins (1987)

These guys have been in the game for many years, plugging away at their gloomy soundscapes, but when 'Primitive...' emerged back in the '80s, Prong were far noisier, far more hardcore and certainly punkier. Criminally underrated, the trio have belted out no thrills heavy metal for aeon's, inspiring many with their face smashing slabs, 'Primitive...' remains the bands most chaotic work, all twenty minutes of it. Indeed, despite this record's cacophony, they must've been doing something right as they were partly tamed by EMI Records in '89, the band slowing rather drastically but still hitting the notes with later quality such as 'Beg To Differ'. Although numerous line-up changes would follow, 'Primitive...' remains the bands most harsh work.

6/10

Slammer - The Work Of Idle Hands (1989)

A band that lasted about as long as they should've in a sense, but looking back, these Brit thrashers, who I saw live supporting Ozzy Ozbourne, deserved more, despite the fact that this debut is nothing more than mundane thrash straight from the Bay Area. Testament immediately spring to mind with chugging riffs, and if these guys had been Americans they may well have carved themselves a slightly longer career, but in the UK the funk metal trend was taking over and there had never been any real need for basic slam-dunk thrash, just look out how the likes of Xentrix, Ignorance, Toranaga, Re-Animator and Deathwish faired, three of these bands disappearing into normality, the other two becoming completely fake and adding a sickly funk influence. Even so, judge this record now and you'll hear competent workmanship, some heavy riffage and some catchy tunes, i.e. 'Hunt You Down', 'If Thine Eye' etc.

6.5/10

Mr Bungle - Bowl Of Chiley (1987)

Mr Bungle were still finding their feet on this muffled demo which, in comparison to 'OU818' which was released a few years later, trudges through muddy water. This is bereft of the disturbing imagery, the carnival dementia and retarded evil, instead opting for a more reggae-based splatter. Listening to this so many years after getting my grubby hands on it as a rarity, I find my attention waning just like it did then. Patton's nasal whine is nothing more than that as he toon-like snaps and yelps over fidgety grooves which are reasonably stark when put alongside the bands official output. Of course, all bands have to start somewhere and 'Bowl Of Chiley' will please the die hard collectors eager to snap up Bungle's back catalogue of toilet humour and spasticated cavorting, and I'm sure the hopelessly devoted of you will find some pleasure in 'Evil Satan', the shuffling 'Cottage Cheese' and guffaw of You Can't Make Me Mad'.

5/10

Death - The Sound Of Perseverance (1998)

Holy shit, this has to be one of the most impressive death metal albums of all time. Of course, you'd expect that from Chuck Schuldiner and his Death team, but this is laughably genial in every sense, the main man tragically died shortly after, making this the final Death record, but what a way to go, yet sadly such a loss to the scene. As bands such as Slayer found themselves fading into commercial streams, Death opened new doors and explored avenues never even dreamed of in the death metal world. Chuck was a great man, Death without doubt the finest death metal act on the planet who pretty much began the whole scene with their sounds of early gore, but wow, did they come along way. 'The Sound...' is a spiralling, often melodic, highly complex yet thoroughly riveting record where Chcuk has decided to assemble three relatively unknown musicians in Shannon Hamm, Scott Clendenin and drummer Richard Cristy who had the unenviable task of filling the booms made by Gene Hoglan. On this record you'd think the band had been together forever, somehow fusing elements of jazzed up progressive rock with tight as Hell percussion, each member of the band pulling their weight to construct one heck of a huge web of sound. Once you've listened for the hundredth time and managed to scrape the surface, you'll still be asking, is that really Chuck on vocals ? Gone are the clear yet guttural growls, now replaced by dry screeches, akin to Sadus. And at the end of the blitz the band somehow churn out an apocalyptic version of Priest's 'Painkiller' anthem with Chuck shattering glass. This is a very new Death, even though a new Death emerged on just about every record, only 'Scream Bloody Gore' and 'Leprosy' bore any resemblance, but this is wild progression and some may be perplexed by the intricate structures, double bass triggers, concentrated solo's and in-depth musicianship that I can only compare to say Atheist for innovation and precision. 'Bite The Pain' has embers of speed, but Death no longer loiter in the dark chasm inhabited by Morbid Angel and the likes, they left that cavern many years ago when Chuck, despite numerous band changes, formed the wondrous sounds of 'Symbolic' and 'Human', death metal beyond the realms of anything previous or possibly yet to come. 'Spirit Crusher' slows the tempo, the classical edge shines through, and the melody of 'Flesh And The Power...' is breathless. Death metal fans seeking super blast speed and gored emotion will be left cold by the almost alien soundscape Chuck creates, but this man is the king of death metal, and goodness knows where he would've taken the band if he'd lived longer.

Chuck may not be here in the flesh but his music is timeless. More should appreciate such melody within extremity, and such complexity within weight. Of course, much of what evolves on the record is simply a product of Chucks ego, but then again, if you've got it, flaunt it.

9.5/10

Motorhead - Motorizer (2008)

Lemmy and company grease the chains, oil the cogs and wipe the sweat once again, and continue to churn out earth shattering grooves, giving the fans what they want in most parts. The band may be a little hard pressed to return to the gruelling, wolfish blackening of 'Inferno' and 'Sacrifice' but 'Motorizer' does have its moments, but then again, it also has its dodgy moments to, there are two numbers (and thankfully only two) which echo the denim jig of Status Quo, 'English Rose' certainly irritates but 'Rock Out' and the likes go a long way to engulfing any run of the mill blabbering, and with Lemmy's gravel throat delivery back to its evil self there's no telling when this machine will come to a halt. Of course, Motorhead are best experienced live and in the past some of their records have been guilty of going through the rock 'n' roll motions if you like, but 'Motorizer' certainly has enough beef to keep the hardened souls happy. With this band you always know what you're getting but that isn't the problem, it's just whether they can be bothered to turn their no thrills battery into something hellish, and this time they succeed most of the time.

7/10

Anthrax - State Of Euphoria (1988)

Was a little reluctant to put this record on here but considering some of the borderline entries, I don't see why not. There was a slight amount of excitement when the New Yorker's released the follow up to 'Among The Living', but such was the quality of that particular record it was clear that this album wouldn't live up to it, but the main problem here is that 'State...', certainly at the time anyway, was nowhere near good enough. Many years later. 'State...' has altered my perception and I find this record fun rather than the major disappointment it bestowed back in the '80s. This record still has that hardcore/punky crossover edge and the riffs are still big rolls of jerking sauce, but we must not continue to compare it to 'Among...' otherwise it will always fall miserably short. The single from the record was the rather irritating 'Make Me Laugh', I found myself wincing at Belladonna's vocals but then again he was always that kind of vocalist neither great or too bad, certainly with his own style even if at times it was once which grated. 'State..' offers a handful of decent cuts, the opening menace of 'Be All...' and chugfest 'Now Its Dark', but it seems that 'Among...' left the band high and dry. 'State...' is not my idea of an Anthrax thrashcore record, but spinning it again a few decades later I can honestly say that on its own its a nice little record, sure, it's dressed in a gawdy vomit inducing cover, but I have to consider than in '88 I was listening to Slayer's blood curdling records and Anthrax had become quite irrelevant...it's just a shame they floundered so quickly after two masterful records.

6.5/10

Motley Crue - Saints Of Los Angeles (2008)

The Crue are back, and boy you better believe it. Forget the press reviews which claim it's the same 'ol same 'ol...this is rock 'n' roll not avante garde psych-pop, but thankfully, with the band back to the original line-up, the first time since 1997's messy 'Generation Swine', this is the Crue we all know and love. Somehow, despite all the women, all the money, all the drugs, booze and cars, the rockers have found a hunger that almost puts this record on a par with 'Dr Feelgood', and believe me, that's a real compliment and quite an achievement. I was a big fan of 'New Tattoo' but it seemed to slip under the radar, and even the band seemed to miss its obscure qualities and anyone who has seen them live recently will note a set list bereft of 'New Tattoo' tracks which is a shame, but 'Saints...' somehow finds itself as a mix between 'New Tattoo' and 'Dr Feelgood', and that should be fine by any real Crue head. If you want cheese, you'll find a sprinkling, but a sprinkling only, particularly with the bubblegum rock of 'Chicks = Trouble' (probably the weakest track on the record) and Def Leppard with meat 'The Animal In Me' which is about as lovey-dovey as Crue get on here, but apart from that, this is vintage rawk 'n' roll and Mick's guitars have never sounded better, except of course for the glam strut of 'Too Fast For Love' and bombastic '...Feelgood', but just check that riff on 'Whats It Gonna Take' and the anthemic charge of the title cut, and you'll find the band brooding, and even Vince sneering on the lead weight 'MF Of The Year' and pummelling 'Just Another Psycho'. Huge choruses, lustful drums from Tommy, brusing bass from Nikki, and the occasional trip down memory lane with the twanging 'Down At The Whisky', but this is Crue on fire, seeking a fresh approach but by keeping it simple, incorporating their own brand of punky sleaze, and doing what they do best. What else do you want ? What else do we need ? Face lifts, friction, solo projects and mega bucks aside, this is Crue revamped and ready to go.

8.5/10