Taurus - Signo de Taurus (1986)

Translated as 'Sign of the Taurus' this 1986 debut album is another fine example of cult Brazilian thrash that was overlooked as Sepultura carved their way into metal history. These guys released three decent albums at the tail end of the '80s and then returned rather lamely in 2010, but for fans of speedy, although not ultra-heavy thrash, this is a good record which if anything is let down by the low-budget production and rather poor vocal attack of Otávio Augusto. Even so, it makes for a pacey listen but it does lack in the technical department and doesn't appear as innovate or memorable despite some nice riffs. Taurus weren't as volatile as Mutilator but I'd still recommend an album like this to those seeking a glimpse into the Brazilian thrash underground.
6.5/10

Mutilator - Immortal Force (1987)

Nothing beats taking a trip back into old school thrash/death metal, and Brazil's Mutilator were responsible for some classic blistering metal, particularly with their 'Into the Strange' opus and this brutal affair, their debut opus. Sadly these guys only released two albums but it was great while it lasted, giving us kids a deeper understanding of underground thrash/death metal as they churned out numerous classic, evils-sounding riffs which would no doubt go on to influence the likes of Darkthrone. 'Immortal Force' is a fantastic, ear-shredding platter with elements of old Slayer, and while it may not be original or particularly memorable at first - often due to its speed - it's still engrossing minor-classic which spear-headed the Brazilian scene alongside Sepultura and the likes, and there are still some superb riffs thrown in there, especially on that opening 'Memorial Stone Without A Name'. As a track it pretty much sums up the Mutilator sound with its hardcore, punkier leanings as well as that speed and sporadic measured moments, but overall this is a must have thrash-fest for any serious fan of extreme metal.
8/10

Sign of the Jackal - Mark of the Beast (2013)

Another cracker from the present, Sign of the Jackal have clearly spent many an ungodly hour listening to old Motley Crue because the riffs on offer here have been wrenched from 'Shout at the Devil' and there's nothing wrong with that when it works and Sign of the Jackal really do make it work. These guys hail from Italy and 'Mark...' is their debut opus and it's one that showcases the vocal talents of Laura Coller who acts as a grittier Vince Neil with those snarling sleazoid rasps, but one thing that's certain here and that's the fact that these guys are pure '80s metal. This is a hard record to put down, with the likes of 'Night of the Undead', 'Hellhounds,' 'Fight for Rock' all taking on that fiery '80s quality. Laura's vocal display is top notch and the musicianship enables this record to rise above the formulaic - how these guys fair in the modern climate with revival being on everyone's agenda we'll have to see but I'm of the opinion that the music of Sign of the Jackal is potent enough to hold them in good stead.
7.5/10

Burn - s/t (1984)

Burn were a fantastic Swedish metal band who were unknown and yet responsible for this scorcher of a record. Just a few spins and you'll be swamped that wicked guitar tone as the riffs and solos literally blitz the ears. Vocally it's nothing out of the ordinary but the beefy tones of Tom Oakland, with their Dave Lee Roth type croon do go hand in hand with that rich guitar sound, and with tracks like 'The Rebel' and 'Make Her Mine' this New Wave of British Heavy Metal-styled groove machine should keep you happy for hours. Fans of early Tygers of Pan Tang may find this a gem of a record
7/10

Protector - Reanimated Homonculus (2013)

Whilst I try to resist reviewing too many modern albums on this rather nostalgic and often creaky blog, Protector's 'Reanimated Homonculus' (what a title!!) has to be one of 2013's finest thrash moments, showing all the new kids on the block just how to play genuine rip-roaring '80s metal. It's great to have these German thrashers back but boy, I didn't expect their return to be so mind-blowing. This opus even gives classic Kreator a run for its money such is its razor-sharp prowess and sneering arrogance. I've always been a fan of that breakneck style of no thrills snarling thrash but this really is a formidable return to form from a band who've decided not to opt for modern dynamics in their quest for slashing flesh. Whilst the likes of Sodom and Destruction, have kept the earthy thrash flag flying it could be argued that alongside Kreator they've opted for a more accessible sound, but Protector have just gone for the throat with this one, and it's made all the more bone-cracking by featuring original vocalist Martin Missy who simply shreds this time round.

Whilst it may be nigh on impossible to pick a favourite track I'd suggest you lay your flayed ears on tracks such as 'Deranged Nymphomania' or the savage opener 'Sons of Kain.' You NEED to own this uncompromising thrash workout, because if you're a new fan to this sort of stuff then it provides not only a perfect insight into the halcyon days of the scene but also shows how this type of music needs to be played today. Forget trends, this is thrash metal from the start and from the heart.
9/10

Cycle Sluts From Hell - s/t (1991)

These short-lived cult New Yorkers were an all-female combo sporadically and variously back by a number of famed metal musicians, including the likes of Overkill's Bobby Gustafson, among others, but despite being around the '80s they only released one record - this self-titled rocker which somehow managed to combine sweaty Joan Jett-styled innuendo with a goofy White Zombie-meets-Danzig oily sleaze. Hell, any band that can have members called Venus Penis Crusher, Queen Vixen, Lord Roadkill, and Donna She Wolf have just got to be worth the entry fee alone, but for the most part despite the novelty feeling this is still a decent metal album with the likes of 'Conqueress', 'I Wish You Were A Beer' and 'Badass Mama' being the most notable. Perfect rock n' roll for a silly night out, and it's a shame the cult status never propelled them to dizzier heights.
7/10

Avenger - Blood Sports (1984)

Not to be confused with Avenger mentioned elsewhere on this blog, these guys were an influential NWOBHM who most certainly would've inspired countless number of later '80s speed metal bands such is the ferocity of numbers on offer here such as 'Enforcer.' These Brit metallers only release two albums back in the day, and this opus was their first, a mighty fine little gem of a record that boasted some raging numbers such as 'You'll Never Take Me (Alive)' featuring the killer guitars of Les Cheetham and Ian Swift's no thrills but no holds barred vocal attack. A fiery record this that rarely lets up on the pace and even a cover of Montrose's 'Matriach' is given extra full-blooded steel.
7/10

Sortilège - Métamorphose (1984)

This is real hardy, blazing, skin-scorching heavy metal that rises from the mists of France and blows your head off. The magic of these guys is that they were only in existence for five or so years but were responsible for this face-melting opus alongside 1986's 'Larmes de héros'. Sure, the vocals are sang in French but this is such epic sounding fantasy-inspired metal - fronted by the chest-busting vocals of Christian Augustine. All real metal-heads should experience the strutting menace of these guys, because at times it's just such a pulverising experience resulting in such leather-clad gems as 'Hymne à la mort' which is a real ground stomper, and with those Stéphane Dumont leads it's a real metal anthem that just needs to be discovered.

Sortilege were such a cult act, just a shame they never continued into the latter part of the '80s because both of their albums are killer, nuff said.
8/10

The Awful Truth - s/t (1990)

The Awful Truth were a band too clever for their own good, the sort of innovative, at times jarring and confusing 'alternative' metal band who'd have been much more comfortable amidst the later grunge scene, because this self-titled opus just failed to make its mark. Such was the enigma of this band that they only released this opus, their career spanning from 1988 to 1989 although members Monty Colvin and Alan Doss will be more known for their work with the Galactic Cowboys. Even so, it's worth checking out this remotely colourful opus which has so many kaleidoscopic swirls, but also jagged edges, that it can be quite a tough, and yet always engaging listen. Slap on the funk-driven buzz of 'The Circle' to appreciate the bands' many layers which are peeled back to reveal some insane fairground of raging guitars, off harmonies, touches of soul and weird arrangements of a grunge-fuelled nature. I don't know how we even begin to pin down such an elusive record; but the examples of the funk-bass jive of 'Ghost of Heaven' (with its Faith No More-esque effects) and the angry, bruising nature of 'Higher' mean that The Awful Truth are simply typical of these type of bands who turned the metal scene on its head all those years ago but faded oh so quickly. Often so splendid in its dreamy, but juddering quality, the simple truth however is that The Awful Truth are of no fixed abode.
7/10

Vice Human - Metal Attack (1985)

If ever there was an album that suffered from a poor vocal delivery it's this one. Admittedly Vice Human were one of the first metal bands to emerge from Greece but there's just no excuse for the amateurish feel of this rarity which also suffers from naff production and guitars which just refuse to rage. Of course if you do find this going cheap then snap it up, but I really don't think you'll be impressed by the whimpering tones of 'Heavy Metal' but I just had to include this obscurity which was the band's second opus after their self-titled debut. Hard to believe they reformed for 2003's 'Set Me Free' and are still going strong!
4.5/10

Evil - Evil's Message (1984)

This is Danish metal from the obscure netherworld - the sort of gem that every collector prays to find. 'Evil's Message' is an EP that boasts a mystical cover - although it looks like a scene plucked from an early '80s children's television drama - but musically this is an infectious little record that has a strong traditional heavy metal feel, and to sum it up one only has to lend their soul to the fantastic opener - a seven-minute rocker high on melody and rollicking hot-blooded metal. There is always something so genuine about these type of obscure recordings, but this gem has everything - from the catchy rhythms to those simple yet effective vocals of Pearl Angel.

This EP could well be some of the best twenty-minutes of your life, all wrapped up in those guitars which literally smoke and Freddie Wolf's raging drums, nowhere more potent than on the scorching 'Evil'.

Typically creaky and a tad bland at times, but a real slice of vintage.
7.5/10

Intruder - Escape From Pain (1990)

Nashville's Intruder released four full-length studio albums and this five-track EP, and boy were they underrated considering their talents. This is technical, yet fluent thrash high on melody and reminding me a lot of Metal Church circa 'Blessing In Disguise' especially with Jimmy Hamilton's vocal attack. It's cut-throat metal that slices the vein with cold steel aplomb; musically it's so tight, often easing between the gears and blending power metal, classic metal and token thrash but with such glossy, professional effect. There are some superb numbers on this album, my favourite being 'Kiss of Death' featuring the twin guitar assault of Vinett and Messick who were true masters of their art, but one just cannot ignore the orgasmic none-minute title track with its barrage of Pieroni drums and those stunning riffs. A fine thrash metal band who offered technical prowess and so hard to choose a favourite out of their recorded efforts.
8/10

Transgressor - for The Scapegoat (1992)

One cool album and they were gone. Tokyo's Transgressor were old school doom/death metal that quite morbidly combines deathly speed with guttural and stuffy gloom. 'Ether...' sits at the opposite end of the scale to Church of Misery, and has more in common with late '80s and early '90s death metal than anything Sabbathesque, but that doesn't stop this album from being a real menace to society, particularly in the Autopsy-styled chugs and gurgled, guttural vocals. The likes of 'Limbless Doom' melt together that varying pace to give off a real foul air of doom, but for the most part 'Mortal Agony,' is of that Autopsy nature, the sort of stifling sound that after just one listen you'll be scraping it off the bottom of your shoe. A gritty, almost fuzzed out guitar sound is accompanied by embryonic drums, surely making Trangressor's only full-length journey one to find. Great album cover too.
7.5/10

Dementia - Recuperate From Reality (1991)

Clearly emerging when it was a tad too late, Chicago's Dementia still had time to introduce us to their slab of thrash metal. Certainly nothing new to the scene, this is the type of record you listen back many decades later and realise it's far better now than when you originally heard it. Sadly, the record is let down by the tuneless vocals but musically it's very much of the classic thrash vein, aping the likes of Metallica - Mike Walz often attempts a James Hetfield type of growl, and the riffs are pretty generic but like all '80s styled thrash there is something rather charming about this, but in 1991 this would have sounded extremely dated. The other main issue for these guys being that there are about another twenty or so bands from around the world with the same moniker - woeful album artwork to match, but tracks such as 'Insane' despite their Metallica obsession are still very much of the thrash blend we all know and love.
6.5/10

Exterminio - s/t (1988)

Obscure Brazilian thrash, Extermino - despite suffering from a rather awful drum sound - puked out this corker of a debut album back in '88, but it was only known to die-hard fans of the thrash scene. There were so many cool South American bands back in the mid to late '80s, and Extermino were one of those. As a band, the vocal sound is quite dry and raspy, but effective for a thrash record, and then there's that bubbly bass and some pretty twisted riffs and even with a vicious speed this still offers some super-dry melody, particularly on the likes of 'Ordem E Progresso'  and the swirling solos of 'Vencidos'. Again, the album does suffer from a weird drum hiss but it's still a worthwhile addition to any collection that leans more to blackened death/thrash.
7/10

Doom - War Crimes (Inhuman Beings) (1988)

When it comes to rattling crust-punk with a message, then Doom's 'War Crimes...' has to be one of the best records out there. These guys are somewhat of cult status - hailing from the streets of Birmingham, UK, the same fetid air that spawned Black Sabbath to name but a few. Somehow I always coupled this bunch with that early Napalm Death line-up, although there was more of a punk element to Doom. Even so, this is one grey, fuzzy, dank and often abysmal record that has stood the test of time and rightly so, because the earthy vocal drool of Jon Pickering, coupled with the dirty bass and crusty guitars means that this album sums up late '80s Britain with that hardcore sneer. When I first heard this record it was a time when acts such as Unseen Terror, Electro Hippies, Extreme Noise Terror et al, were doing the rounds - combining that punk ethos with basement speed. Certainly not metal, or well-produced, but that's the point!
8/10

Impact - Take The Pain (1991)

Believed to be one of the hardest metal albums to get hold of, Impact's 'Take The Pain' may have a poor album cover but it's a cracking old school thrash record which combines clinical speed that one would associate more with late '80s Euro thrash, but there's also am hint of Slayer in the melodies. There's nothing fancy about it but if you like all manner of thrash bands ranging from Dark Angel to Coroner then this should appeal. The riffs cut deep to the bone, just check out the assaults of the title track, the superb groove thrash of 'In The Flesh' and the vicious 'Kill On Kommand' featuring explosive drums. 'Take The Pain' contains all the ingredients to make this a cult thrash opus.
7.5/10

Wild Dogs - Man's Best Friend (1984)

One of the best '80s metal bands you've probably never heard. Wild Dogs were also responsible for the fantastic 'Reign of Terror' opus but this one also boasts those volatile vocals and searing hot guitars which have a dark, thrashy edge. Wild Dogs formed in the early '80s and they are one of those bands whose members are probably best known for their work with other bands, for instance, Jaime St James of Black n' Blue fame was in the band as was Deen Castronovo who went on to work with the likes of Ozzy Osbourne. Anyone wanting to hear what real '80s metal sounded like should check out this brilliant record which boasts the likes of 'No Stoppin' and the frothing opener 'Livin On The Streets'.

This is a real slab of a heavy metal album, and even when the melody drops in there's a real lethal edge to the whole affair an Matt McCourt's vocals really do get the blood rushing through the veins. You've just got to own something as bold and brassy as this, because whether you're a fan of dense-sounding, sinister, razor-sharp guitars or just like to smash your house up to real, panting metal, then 'Man's Best Friend' is a record they will bring out those primal instincts. Top stuff.
8/10

Steelover - Glove Me (1985)

Okay so the album title is rather...er...uncomfortable but if you fancy a shot of female-fronted Polish metal then this obscurity has just got to me for you. Steelover may not have had the money to employ a decent cover artist, but they more than make up for this with their hot, driving heavy rock which comes spitting out of the traps with the rowdy 'Forever' and then rarely lets up the pace. It's an oily ten-track affair including a cover of Creedence Clearwater Revival's 'Hey Tonight' but the pop-tinged grunts of 'Give It Up' (which somehow has elements of Kiss's 'Lick It Up') really get their rusty hooks in. It's a meaty affair, mainly in the vocal department which are relatively gritty over those hooky guitars. Quite a rarity this one, but it's worth getting hold of.
7/10

Tension - Breaking Point (1986)

I knew fuck all about this band when I first heard 'Breaking Point' but this is a corker of a record that is a fine dose of almost technical heavy metal mixed with thrash overtones. Hard to believe these guys started out in the late '70s but if you hear this opus you'll notice a few progressive moments, some great and often complex guitar pieces and some nice vocals which combine classic metal strains with crystal clear thrash melody. Sadly, 'Breaking Point' for all of its joys was to be the only album by this American act but the likes of 'Wrecking Crew,' 'Metal Paranoia' and the likes are right up there with some of the best mid '80s metal albums because this effortlessly fuses together epic metal with speed metal and a strong NWOBHM feel, again, those vocals really stand out - in fact this record has so much going for it. It's pure metal, through and through but also has so much in common with the late '80s thrash scene that spat out such talented bands as Toxik, but 'Breaking Point' is such an underrated record, one that boasts a number of catchy grooves - the most infectious being opener 'One Nation.'

A really superb record that would've lasted the test of time if enough people had been lucky enough to hear it!
8/10

Armed Forces - Let There Be Metal (1984)

As far as obscure '80s metal goes Armed Forces' 'Let There Be Metal' is up there with my favourites. As a record this 5-track mini-LP has everything a an '80s metal should, from those blistering yet basement guitars to the epic warrior-styled vocals. There are anthems galore, pounding melodies, driving guitars, crashing drums and a sturdy bass - and fans of Manowar will no doubt lap up the chest-pounding glory of it all. The title track alone boasts fiery vocals which work as high pitched yelps and more formulaic rasps, but amidst the slight hint of cheese there is some excellent guitar work - and no-one can argue with a guitarist called Tommy Bolan (not to be confused with glam god Marc Bolan or ex-Deep Purple fretster Tommy Bolin), but those of you who lap up straight up metal will find much to dribble over with the blazing 'The Nightrider'.

'Let There Be Metal' makes for a riotous listen and is not as basic as you would first imagine. This is a real gem of a record if you can find it, and as it comes wrapped up in macho cover art this is the one that really gets the thumbs up.
8/10

Angel Witch - Frontal Assault (1986)

1986 was a great year for heavy metal and the third opus from Brit metallers Angel Witch is right up there with some of the best. These guys have played a pivotal part in the growth of heavy metal despite never getting the recognition they deserved but one thing you can guarantee with the bands early records is that they are going to be hard rockin' efforts full of majesty and fantasy, and 'Frontal Assault' especially with its U.S. edition of the cover (as pictured) is just perfect for a night in by the black candles. There's an earthy feel to this nine track affair - the vocals of Dave Tattum are pure an fiery whilst the guitars of Kevin Heybourne are bang on the money. It's classic rock with stormy riffs ('Dreamworld') and epic atmosphere. Very much of its time 'Frontal Assault' is at times stuffy but always has meaning, especially when experienced for the first time. One can't argue with the galloping title track or the slow moving 'Straight From Hell.' A decent addition to any heavy metal fans' collection.
7.5/10

Angus - Track of Doom (1986)

These metal-heads may have one of the worst band names of all time but with a cover depicting two centaurs you just know this creaky obscurity is going to live up to expectation. This is 38 minutes of top quality NWOBHM styled metal which goes full-throttle from the first whistle until the last, featuring scorching guitars, racing drums, cool metallic chest-pounding melodies and epic vocals which at times do tend to wobble, but hell, when the guy is rattling on about flying monsters and destruction we can't really argue. Imagine a basement version of Dio but still maintaining that dragon-fire charm which comes to the fore wit the face-melting shredding of 'When Giants Collide' and the smokin' title track. The perfect ingredient when stokin' that bubbling heavy metal fire.
7.5/10

D-Extreme - The Truth Shall Be Told (1991)

Hard-edged political crossover metal was rarely this good, but alongside the equally colourful 24-7-Spyz and Naked Truth, D-Xtreme just never got the attention their lyrics and music deserved. This is a reasonably vocal and violent debut record from this all-black outfit who trade Living Color-styled commentary with spikier menace, resulting in soulful yet gritty thrashing crossover and gritty funk metal that never once annoys like so many other bands did at the time. The track titles speak for themselves with 'Race Riot,' 'The Crackside' and 'Child Abused Kid' so as expected this isn't going to be an easy ride, but the choppy raps, bruising guitars and social commentary deserve your attention. This one slipped under the radar but slots nicely alongside Mordred's 'In This Life', Urban Dance Squad, Naked Truth, 27-7-Spyz, but lacks the fun of say Fishbone, but hey, it can't all be smiles in the ghetto, but this album is a real grower.
7.5/10

Incantation - Onward to Golgotha (1992)

By 1992 I was becoming fed up with metal and all of its nuances but if you were prepared to stick around until 1992 then your life would have been blessed with this bruising death metal experience. Incantation formed back in 1989 but were never really slotted into the 'classic' death metal scene that spouted out such marvels as Morbid Angel, Obituary, Entombed, but as debut albums go 'Onward...' is one of the finest death metal releases that quite literally stamps all over your face - the vocals of Craig Pillard are guttural to the extreme, whilst the twisted guitars hint at the Morbid Angel madness whilst the drums of Jim Roe are simply relentless. This isn't quite up there with Morbid Angel's debut record, but it's still a formidable death metal record that never got the credit it deserved as fellow New Yorker's Suffocation and Immolation seemed to bathe in the limelight.

Although fast in most of its journey this is a very accessible record that reeks of evil, hints at melody and echoes with the sinister. One of the last of the old school tyrants.
8.5/10

Wasted Youth - Black Daze (1988)

Wasted Youth began life as a U.S. punk band but like a fair few riotous acts they decided to crossover into 'metal' territory, and also, like so many other bands, I really think the end result was one of note. Wasted Youth combine raging thrash with a punk attitude, and it's no wonder people have put this album in the same pigeonhole as D.R.I. and the likes, but there's some great melody here, as the band thrash out a decent batch of tunes an adopt a really crunchy guitar sound punctuated with punchy solos. Standout tracks have to be the cool 'Any Gun Can Play' and the hardcore fluster of 'Bucket Head' which features more dazzling guitars.

'Black Daze' is a pacey affair that should appeal to anyone who likes their metal furious but well thought out, because time and time again you'll find yourself marvelling at those superb chords and flashing solos.
8/10

Hobbs Angel of Death - Inheritance (1995)

If you want proof that '80s styled thrash metal was still in existence during the god awful grunge invasion, then Hobbs Angel of Death's 'Inheritance' is the album you  should have owned. These guys were criminally underrated throughout the '80s let alone the '90s when metal had all but died - but obscure classics such as this emerged. Hobbs Angel of Death were formed by Peter Hobbs, and were an Australian thrash act who went through several line-up changes and rather extraordinarily only released a couple of records. Even so, if you want to hear evil-sounding thrash metal in the vein of old Slayer then you can't go wrong here, because this sounds as if it was recorded back in the early '80s such is the menace of tracks such as 'Dream Killer' and 'Depopulation,' and Peter's voice is at times a dead ringer for Slayer's Tom Araya if you can imagine Tom's voice being more guttural. This is a killer album featuring some brilliantly ominous guitar work, you'd have been a fool to have missed out on this.
8/10

'Black Roses' Original Motion Picture Soundtrack - v/a (1988)

'Black Roses' was like the lesser known sibling of the brilliant 'Trick or Treat' movie. It was certainly the least talented family member too as a film - but as a soundtrack it was quite a decent affair, showcasing some of the '80s more accomplished metal bands, ranging from King Kobra, Bang Tango, Tempest and Hallows Eve. Most of the tracks on offer were good rockers, with the Black Roses band (consisting of several known metal musicians such as Carmine Appice, Alex Masi and Mark Free) rocking out four of the tracks on the soundtrack, the best of these being the melodic 'Paradise (We're On Our Way')' and the fiery 'Soldiers of the Night'. Elsewhere Hallows Eve offer the thrash assault of 'D.I.E.' which appeared on their excellent 'Death & Insanity' opus, whilst 'Tempest's 'Streetlife Warrior' is a cool, fizzy metal number albeit rather formulaic. Even so, 'Black Roses' soundtrack is a far better ride than the movie
7/10

Fisc - Handle With Care (1989)

Fisc sound rather dated to be honest considering this is the late '80s although it could be that rather lightweight vocal of Andre Blazar that gets on my wick. Tracks such as 'Live It Up' 'Come Run Riot' and 'Breaking All The Rules' are rather formulaic hard rock with a heavy dose of metal - 'Live It Up' being even more watery, although slightly similar to Kiss's 'Lick It Up' chorus wise, but occasionally the band like a chug - 'Come Run Riot' a prime example, but there's a distinct lack of bite here although the piano-tinged 'Won't Let You Go' is a nice stab at pomp rock balladry. Radio friendly hair metal to the hilt.
5.5/10

Kidd Gloves - Feel the Fire (1986)

A decent little metal band, the rather poorly named Kidd Gloves were fronted by Lisa St Ann whose silky tones gave this band a very melodic feel. Even so, the title track, which simmers nicely, has a Hellion-meets-Whitesnake feel with its slow-building smooch feel. Worth noting the excellent guitars of Frank Shaw who comes into his own on 'Turn it Around'. Simple metal but that's all we wanted back then as teenagers. Favourite track has to be the scorching 'Reasons' with its fiery guitar and heavy drum bombs. A cracking little EP this one.
7/10

Stonehenge - Wings of Steel (1986)

The career of these metallers from New Zaland was more of a snippet - and it's no wonder they vanished considering just how many bands shared the same name. Even so, it's quite an obscure little three-track EP that feature some of the murkiest, raspiest vocals I've ever heard, although the music in general is rather dated, even with Medieval overtones on the title track. Hard to find this one which is why I wanted to review it and give it some exposure. I'm still unsure of vocalist Djamil Rodop can actually sing as he's so far back in the mix, and whilst the guitars and drums plod with some intent it all becomes a bit of a haze, but if you happen to come across this platter for cheap then make sure you snap it up.
5.5/10

Proud Existence - The Trail (1984)

Another dose of burning metal from the Netherlands, the poorly named proud Existence were a formidable experience for their short career, just a shame they couldn't keep the metal mysticism up for more than this EP, but again, it's quite murky power metal with a sprig of thrash that comes to the fore on tracks such as 'Castle in Black' which has a real dark atmosphere to it and the riffs are superb. Vocally it's not the greatest but then again, Alex Roest isn't the worst vocalist I've ever heard. Maybe it's my imagination but so much of this stuff has a real stuffy, dense quality often due to low-budget production but I can't knock it - just bang that weary head to the fantastic 'Fast Ride' which features a killer solo and galloping drum. Immense considering it probably sold fuck all. Almost punky and Gothic in its vocals and atmosphere, 'The Trial' is quite a gem.
7/10

Leader - Out In The Wasteland (1988)

Extremely obscure Dutch speed metal with slightly dodgy vocals yet an endless low-budget charm. The only release by these guys, it hurtles by in a flash, but sadly despite the whizzing guitars the vocals are distinctly lacking, often out of tune, giving the album a strange live garage feel. Even so, I'm somehow able to look past the inadequacies and hear a glistening record that is fuelled by those vicious guitars which come courtesy of Oscar Carre and Richard de Jonge. 'Ride the Wind,' 'Shoot to Kill' et al are all ferocious lumps of molten metal played at quite a speed too, so those of you who like a rusty mix of early #80s thrash and N.W.O.B.H.M. should dig into this.
6.5/10

Laaz Rockit - City's Gonna Burn (1984)

I guess all bands had to start somewhere. Laaz Rockit's debut was more of an exercise in vintage '80s metal - far removed from the thrash titans they became a few years later. I still like this kind of burning metal because it's so sincere and stuffy, and the album shows a lot of promise with the cutting riffs and Michael Coons warrior vocals. 'Caught in the Act' and 'Take No Prisoners' are superb little numbers, boasting scorching riffs that would make the band some decent money as they turned into a moshing thrash act, but again, all bands have to start somewhere and you could do far worse than belting out a track like 'Something More'. Very much of its time, 'City's Gonna Burn' is a stab at power metal mixed with more melodic, almost glammed up presence and it works.
7/10

Blade Runner - Hunted (1984)

This is the first full-length opus from N.W.O.B.H.M. band Blade Hunter. Both this and their 1986 album 'Warriors of Rock' are decent efforts but sadly, the only records they made. They began life as White Tiger, but Blade Runner clearly sounds like a more grittier moniker. 'Hunted' is a half-decent little rocker with a poppy edge ('Too Far Too Late') but still contained some excellent riffing and classic metal workouts. The title track is a real clanker of a tune with a great little riff and snarling albeit no thrills vocals from Steve McKay. There's always something rather stuffy about these types of records especially if you can get them on vinyl. 'Looking From The Outside' and 'The Stealer' are equally creaky little numbers. I'd rather listen to a host of this stuff instead of most of today's revival crap. Blade Runner really did rock hard.
7/10

Black Death - s/t (1984)

Blacker and stuffier than Satan's armpit, Black Death were a very obscure '80s thrash/heavy metal band - four black dudes who played dungeon style metal featuring killer underground solos and boasting fiery vocals that were classic in their feel and yet strange in their range, varying from bewitching drool to high-pitched and banshee and then demonic hiss. This is certainly a record worth diffing out because it leaves an immense layer of crust on the speakers such is its basement charm. 'The Hunger,' 'Streetwalker,' 'Here Comes The Wrecking Crew,' all very obscure sounding, badly produced heavy metal warts n' all raging. You've just gotta love something so cardboard in its approach and yet also enchanting in its leathery nuances. This very much an unearthly, lower quality mix of Motorhead, Mercyful Fate, Iron Maiden, old Judas Priest, old Metallica - straight up Devil's music from Cleveland.
6.5/10

Skrapp Mettle - Sensitive (1991)

Can you believe that these guys were playing parody metal way before Steel Panther stole the show? Skrapp metal recorded one album - this one - back in '91, and no-one batted an eyelid, I guess that was down to the fact that metal was still in force, and for the most part if you hear this in the distance this sounds like your average metal band. The vocals of Jeff Scott Soto were pretty mercurial, hinting at Whitesnake's David Coverdale, particularly on the swanky swagger of 'Retire or Die,' but elsewhere this is very much comedy metal - yet played astonishingly well...maybe too well? This archetype metal but when you hear the hilarious 'That Load' or 'Spunk' then you know you're in for a hair metal orgasm. All very much tongue in cheek, it's late '80s metal at its corniest but again, the playing is pretty decent but one can only laugh at the lyrics, "Give her a spunk sandwich for lunch..." then we begin to wonder just how Steel Panther got away with it! I guess for SP it was a case of right place right time, because Skrapp Mettle did nothing else after this and faded into the annals of metal folklore, but if you like cheesy metal that doesn't take itself too seriously then give this a spin.
6/10

Recon - Behind Enemy Lines (1990)

Now this really surprised me when I first heard it - I was introduced to these rockers with the track 'Choose This Day' which begins like some dodgy '80s hair metal track, but then somehow it twists and turns with jarring guitars and odd vocal warbles and gang chants as if it were some cold, remote German techno-metal outing. This is a strange record, often icy in its power metal leaning, especially with Vett Roberts' wails, but it's all so mystical, almost thrashy and always cutting. I guess if techno-freaks Watchtower decided to mellow slightly then maybe Recon would be the result - but even then, when you hear the classic metal stomp of 'Dreams' or the bass heavy 'Ancient Days' I'm just flabbergasted at the attitude and precision of these guys. It's sad that these Christian metal-heads only lasted for one album although bizarrely they did throw out a live opus eleven years later! 'Behind...' though has all the frosty melody of Helloween, Sanctuary and Queensryche combined. Props must go to the twin guitar attack of Eddie Starline and George Ochoa. Classy metal.
7.5/10

Holy Soldier - s/t (1990)

Another half-decent rock band who came way too late, because by the time their second opus, 'Last Train' had emerged the world was already succumbing to zombie grunge. But hey, this is good old fashioned holy rock very much in the vein of Stryper - in fact at times one would begin to wonder if this was some sort of rival for the yellow and black attack, but there's room enough for both. Holy Soldier were a more than adequate melodic metal act bolstered by the pure croons of vocalist Steven Patrick, and with tracks such as 'See No Evil' that band really showcased their talent, effortlessly churning out sprightly harmonies with lush choruses and stirring ballads such as 'Eyes of Innocence.' Some really nice songs on here, 'Love Me,' and the more potent 'Stranger' will no doubt catch the ears of those looking for something stronger.
7/10

S.A.D.O. - Sensitive (1989)

The German rockers carve out a nice, edgy hard rock opus that was sadly, to be the bands last as the grunge wave took over. At times this is very much a hot combination of Guns n' Roses and AC/DC, the vocals of  Andre Cook adopting that Axl Rose type of wheezy snarl, especially on the swaggering 'Love Lies' which features some superb guitar work from Matthias Moser. 'Sensitive' isn't the most staggering of hard rock albums, very much of its time it still sports a number of cool tracks such as the breezy 'Another Kind of You' which builds to quite a stomp plus the fizzing groove of 'Talk About Me.' Not a bad little band who churned out four decent records before their split.
7/10

John Norum - Total Control (1987)

This is the debut opus from Europe founder John Norum - and what a belter it is from the Swedish guitarist. Sprinkled with keyboards, yet always driving hard, this is very much melody metal at its best, with Norum shining - as expected with the guitars, and also, surprisingly, with the vocals too on the opening 'Let Me Love You' and the smouldering 'Love Is Meant To Last Forever,' although Goran Edman handles throat duties on three tracks. Admittedly, 'Love Is...' does have the strains of Europe's 'The Final Countdown' to the point of plagiarism but who cares, it's still effective hard rock that comes into its own on the swooning 'Too Many Hearts' and the pompous strut of 'Back on the Streets' originally recorded by Vinnie Vincent's Invasion. 'Total Control,' like a lot of this stuff back then has a fresh feel to it and despite not being original or ground-breaking in the slightest it's still a good hard rock platter spattered pop melodies.
7/10

Alien - s/t (1988)

Not to be confused with the more theatrical band who released the 'Fantasy' opus, these guys are more middle of the road pomp rock from Sweden - big choruses, lush instrumentation, and crisp production enable the bands big ballads and hair metal heartbeats to rise above the norm. Amazingly these guys are still rockin,' and one can't help be moved by the effective if formulaic vocals of Jim Jidhed who provides wondrous melody with songs such as 'Brave New World' and floaty ballad 'Tears Don't Put Out The Fire' with its haze of synth and crisp guitar. Nice on the ears, and perfect for that late '80s scene which spawned the likes of Kingdom Come and slightly more pompous, cotton-candy bands, but I can't knock them for their cushioned sound. A good all rounder this one for fans of big harmonies and perfumed melody.
7/10

Korzus - Mass Illusion (1991)

Old school thrash from Brazil - these guys formed in the early '80s and unlike a majority of cult thrashers they are still going strong despite cult status with early releases. As expected with 'Mass Illusion,' which is probably my fave my these guys, there is a slight Sepultura influence, as well as the usual early Slayer styling's, but for the most part it's a tight record, produced well and boasting some great mid-tempo numbers such as the chanted attitude of the title track with its choppy vocals from Marcello Pompeu and heavyweight guitar attack of Heros Trench and Antonio Araujo. The drums of Rodrigo Oliviera may be no match for Igor Cavalera but they are up there, because 'Mass Illusion' is a nifty, ominous and serious sounding opus that boasts several solid tunes such as the bassy, yet groove-based 'Midnight Madness' and the frantic opener 'Agony.' Certainly worth checking these guys out if you want something to fill the Sepultura void. 'Mass Illusion,' despite its generic feel at times is a rightly acclaimed opus.
7/10

Wombbath - Internal Caustic Torments (1993)

Dark, foreboding old school death metal from Swedish which comes complete with free indecipherable vocals from Satan's depths, and some interesting off-beat riffs with a true dense, old school sound. Very much basement metal - these guys had previously released a 5-track opus entitled 'Several Shapes' and ended their career with 1994's 'Lavatory'. Thankfully, this nine-track album doesn't sound all too Swedish, instead it opts for a lower guitar tone rather than the usual buzz-saw riffing we'd become accustomed to with bands such as Entombed and Dismember. For the most part the band shift between low-end guttural death metal and the occasional faster, yet still accessible layers of gloomy fog. The title track showcases both of these tempos with Tomas Lindorfs vocals being very much of that grisly bellowing variety. It's pretty much no thrills throughout but will certainly appeal to anyone who was used to lapping up this sort of horrifying mess back in the day. A cool little release for the death metal scene.
6.5/10

Graf Spee - Reincarnation (1989)

This is some seriously rough death thrash with layers of crust on top. Graf Spee are a Uruguayan band who never got past their first album, although a split and a demo did follow. The band are aptly named after a German warship and the sound of the band does sound something akin to an old, rusty ship hitting the rocks. This is really black sounding metal, particularly those hoarse vocal sneers courtesy of Victor Rueda, whilst the guitars have all the subtlety of chewing lumps of tin and glass, whilst the drums sound as if they recorded in a sewer that separated the band from the studio. Fans of Venom, Warfare, and also stuff like Darkthrone will certainly find much to savour with raw tracks such as 'Freedom' with its truly horrifying introductory screams and buzzing blazing guitar. Nasty stuff. The band do have the ability to resort to sludge, take for instance the epic silt of 'Patala Loca' with its cereal-box drumming and rough riff. I actually can't get enough of this but it leaves an awful lot of grime under the nails.
7/10

Hyster'iah G.B.C. - Snakeworld (1991)

This Swedish bunch probably qualify for one of the world's worst band names and yet musically this is quite a punchy thrash affair, and I didn't expect it. Hyster'iah G.B.C. remind me at times of Suicidal Tendencies with those choppy rasps and sneers and dense crossover riffs. It's the sort of bruising thrash you'd expect from New York such is its skatecore appeal - but one sniff of 'How Does It Feel' or 'Rope for Rape' won't have you dreaming of Scandinavian fjords! A relatively short record, it's an obscurity worth checking out if you can find it anywhere. Sorry but I know so little about this band but they do thrash hard. Strange cover and album title too!
7/10

Niagara - Now Or Never (1988)

It's the sort of late '80s album that, judging by the cover, may have been a bit of a wet lettuce, and yet hidden within are powerhouse vocals, searing hot guitars and the same quality one might find on albums by Shout and the likes. This is a good little record featuring some real sprightly numbers and V.M. Arias' guitars are simply wicked, anyone a fan of White Lion's Vito Bratta will find much shredding to savour here. Sure, the crystal clear and almost pompous vocal croon of Tony Cuervas is typical of its time but this is a solid effort featuring the fiery ramble of 'I Should Be Stronger' and the synth-drenched crunch of 'I Will Be There' with its sultry, pop edge. Typically late '80s yes, and that's why it's good. And that's a lot of hairspray use on that cover!
7/10

Crillson - Coming Of A New Age (1993)

Another of those bands stuck in the '80s and thankfully oblivious to the major shifts in metal during the grunge-infested early '90s. These Canadian's vomit out raging power metal with a strong thrash edge. It's all very macho, muscular and high-pitched and reasonably heavy too thanks to the dense guitar sound of Daniel Miller. Admittedly, the production is pretty poor and whilst vocalist Jesse Rezendes hits the right notes quite often, much of this sounds like it was recorded in a basement, giving it a mid '80s type quality. There are some moments of note despite the obvious negatives, album opener 'No Cure' is a rollicking listen, whilst 'The Chosen One' desperately tries to sound epic - Jesse is on fire with this one, his wails give the track a strong epic power metal feel. 'Destiny' and 'Veils of Darkness' are also excellent offerings, 'Coming of...' is certainly an obscurity well worth checking out if you like the mid to late '80s style of chest-pounding metal, just a shame this was swallowed up, the title of the record seeming a little ironic...the atrocious cover makes this opus even more charming.
6.5/10

Rage - Reign Of Fear (1986)

One of my favourite German metal bands, Rage were most certainly underrated, and yet churned out consistently good records, 'Reign...' being their debut opus. These guys bridged the gap between U.D.O./Accept-style metal with more technical power thrash, evident on album opener 'Scared To Death' which is rampant with pace. Peter 'Peavy' Wagner's vocals have always been a pure metal rasp, but it's the twin guitar attack of Schroder and Gruning which win me over. The thrashier numbers such as 'Deceiver' are pure metal heaven, burning rubber with the pace and venom - these guys should have dominated the '80s, but alongside the likes of Helloween, Running Wild et al, they floundered, if only slightly under the weight of the US thrash scene, but I'd recommend these sort of albums any day. Blessed with a great cover, 'Reign...' is a mighty fine debut - the band would, as they matured, become more experimental, drifting into Coroner realms with the excellent offerings 'Secrets in a Weird World' and 'Perfect Man.' 1986 - what a great time for metal.
7.5/10

Wench - A Tidy Sized Chunk (1991)

I recall first seeing this opus and thought it was some kind of grunge-infested, scatty road trip - something akin to the loony tunes of the Lunachicks - but this is rather deceiving as far as the cover goes. For the most part, Wench play solid metal - quite gnarly, reasonably heavy and if anything quite thrashy. They say never judge a book by its cover, but I do wish this all girl group had given us more of idea as to what lurked within because many may have missed this little gem. Tracks such as 'Sins' are full blown chuggers although the vocals are slightly off-key, but the majority of this album is good, 'Mercy', 'Forced Labour' are all solid tunes that sound as if they've crawled from some basement, but again, don't expect some goofy sub-pop platter, Wench don't do what it says on the tin - this is most certainly one female thrash-orientated act you wouldn't have heard of.
6.5/10