Saturday, October 18, 2008

BYZANTINE - …And They Shall Take Up Serpents


BYZANTINE
…And They Shall Take Up Serpents
Prosthetic Records
9/10





A new dawn in the existence of heavy metal continues to emerge in 2005 with Byzantine cementing their position as one of the brightest young acts alongside bands such as Trivium and Biomechanical. And much as those two breakout groups of artists, Byzantine wisely take cues from the best in all styles of heavy metal in order to fashion a sound that is powerful, inventive and highly relevant in today’s musical climate.

Each of the tracks on “…And They Shall Take Up Serpents” stands on it’s own musically, you’ll find no filler material or poorly thought out songwriting here, as the group have carefully considered each piece with the utmost degree of songwriting proficiency.

From the highly technical power groove of opening track “Justica” to the wonderfully dynamic “Ancestry Of The Antichrist”, this talented trio of thrashing forerunners convey raw, aggressive emotion as well as any other band out there, balancing their overall sound with a strict attention to the little details that make all of the difference in pushing their songwriting and performance to the maximum.

“Taking Up Serpents” rests somewhere between Lamb Of God style bashing and growling and the precision attack of Megadeth, succeeding on all levels as a song that will have many a metal fan wildly pumping their fist in the air.

A complex time signature lies beneath the surface of “Temporary Temples”, a cut that will have a bold appeal to those who appreciate progressive thrash. Tony gives a blistering solo on this track that serves to further highlight the manic intensity that the group provides.

The ambience during this song’s latter stages is boldly affluent, lending further credence to the group’s proficiency. On “Pity None”, you’ll find the band churning through a grinding riff as OJ lets loose with a substantial vocal melody that is in no way short on antagonism.

It must be said that the driving, skilled drumming of Wolfe places him amongst the best of the young drummers pounding the skins today. Providing concrete-solid beats and unpredictable accents, the drummer gives the band’s songs a distinct edge that is all their own.

To add value to this recording, the band went so far as to include the guitar tablature for the entire record on the disc. Guitarists would do well to brush up on their chops before attempting to play much of the material as the guitarists in Byzantine are well-schooled and possess a high degree of technical aptitude. Make no mistake. “…And They Shall Take Up Serpents” is without a doubt one of the top ten metal albums of the year. Anyone who knows their metal will surely agree with that.


Written By: The Thrash Commander





Tuesday, October 14, 2008

HURTLOCKER - Fear In A Handful Of Dust


HURTLOCKER
Fear In A Handful Of Dust
Napalm Records
8/10





Slayer, Pantera, Hatebreed - Hurtlocker fits right in there with all of them. On their Napalm Records debut, the band gets down to some serious thrashing that is of the caliber that doesn’t come along every day. Man, are these guys vicious! The blasting new age thrash metal of symptoms simply blazes with intense ferocity as axeman Tim Moe displays an affinity for completely ripping the fretboard apart. There haven’t been this many great thrash riffs on a single record since the days of pre-Lombardo departure Slayer and a touch of death metal influence on Moe’s part doesn’t hurt the sound of Hurtlocker either.

Vocalist Grant Belcher is a ballsy screamer, screaming like a banshee throughout the album with just a touch of hardcore making his voice sound gravely enough to make Hurtlocker a very deadly weapon indeed. “Painted Red”, “Symptoms”, “No One, Now What?” – each song flat out slays, between super-chugging riffs, intense double-kick blasts and anguished screaming chants, Hurtlocker get right down to business and rip your flippin’ head off with an unforgiving penchant for aural brutalism.

Stand back and witness the relentless pounding of “Goddamn Reflection”, where Belcher branches out and becomes a bit more diverse in singing style, or consider the maximum damage onslaught of “I Don’t Need You”, as Belcher totally unloads vocally, sounding like Phil Anselmo on steroids atop a galloping Slayer jam.

Music this intense is hard to accomplish with such precision as Hurtlocker manage. But even more important, the group shoves enough emotion into every single note to leave a very strong impression with the metal follower. “Fear In A Handful Of Dust” carries the impact of a daisy-cutter bomb and your soon-to-be ruptured eardrums are their ultimate target. Let ‘er rip!

Written By: The Thrash Commander



EXODUS - Tempo Of The Damned


EXODUS
Tempo Of The Damned
Nuclear Blast America
6/10





Exodus marks its comeback from a lengthy absence with “Tempo Of The Damned”, a decent return to the metal arena. This album is very similar to the band’s Fabulous Disaster production wise. The mix is solid and the record sounds great when you turn the volume up loud. On balance, Exodus have slowed a bit in comparison to previous releases, however every track bears the unmistakable Exodus sound and the music is still powerful, heavy and strong sounding. Many riffs on the album sound as if they were written with more of a hard rock vein in mind, but they are nonetheless infectious and fitful. Don’t worry, Exodus fans, there’s still plenty of thrash here to go around (circle pit, anyone?).

Vocalist Steve "Zetro" Souza is a poignant lyricist using humorous plays on words and catchy passages that will have you singing along by the end of each song. My personal favorite track is “Throwing Down”. On this song the vocals sound much less forced and I favor this style of singing as opposed to Zetro’s trademark wail. “Culling The Herd” is a bit slower and features a memorable chorus line, while “Scar Spangled Banner” is an up tempo anthem which will no doubt incite uncontrollable moshing in a live setting. The guitar attack of Gary Holt on this track is frantic and vigorous.

On “War Is My Shepard”, the vocals are a bit varied with Zetro venturing into deathy territory on the chorus. With poignant phrases like “Praise the Lord and pass the ammunition”, the lyrics to this tune focus on a topic that rests on many people’s minds today – War. “Blacklist” has a nice crunchy feel and another war themed song, “Forward March” chugs along at a good rate while Souza chants the words in a military manner.

These guys are masters at creating catchy riffs that make you want to get up and move, but this being said, I would have expected a little more speed and power from a new Exodus release.

If you’re a previous fan of the band that wasn’t offended when they drifted from their more aggressive “Bonded By Blood” style, you will surely find this interesting. However, there's no new ground broken here… Recommended for serious collectors and fans of straight up mid-tempo thrash only.


Written By: Rick Rattlehead



FLOTSAM AND JETSAM - Live In Japan DVD


Flotsam And Jetsam
Live In Japan
Crash Music
7.5/10








Flotsam And Jetsam will always be best known as being the band from which Jason Newsted graduated from in joining Metallica. That said, the Arizona-based group still managed to kick out an impressive run of albums in the late eighties and early nineties, carving out a niche for creating intense metal with an increasingly progressive twist emerging as their career progressed. This DVD puts the spotlight on the band’s most current incarnation as the group runs through a 40-some minute set of live cuts before a fairly enthusiastic Kawasaki, Japan crowd. Cinematography here is decent but one major flaw is the noticeable unfamiliarity with Flotsam’s material held by a lighting engineer that offers random, anti-dramatic sequences throughout this almost hour long film.


Erik A.K.’s voice has held up marvelously over the years and the singer demonstrates that he continues to possess the ability to hit dead-on, piercing high metal screams. Although the band doesn’t give the impression of being extremely warmed up during the first couple of tracks, they appear to be much more comfortable as “The Master Sleeps” kicks in. Unfortunately, “No Place For Disgrace” becomes a sacrificial lamb as a result, with the band earning a 7 out of 10 in matching the stunning intensity of the original. By the time Flots tears into “Hard On You”, however, the entire band is on target as well. Interestingly enough, this short set includes very little of the band’s most recent material, which has been largely met with little response from fans. Being that this live document captures one of the only Flotsam performances of 2005, common sense would dictate a wider variety and certainly, the inclusion of more material. As a bonus, fans also receive the group’s latest video, “Straight To Hell”, a well-shot clip of one of the more impressive offerings from the band’s latest disc, “Dreams Of Death.”


As exciting as it is to finally have the convenience of watching the revered thrashers rip through classic cuts such as “Hammerhead” and “Doomsday For The Deceiver”, most fans will expect more for their hard-earned dollars than what is offered here. Consequently, Live In Japan will only be of interest to the most passionate Flotsam And Jetsam fans, those seeking to get a hold of absolutely anything and everything the band has to offer. More discriminating metalheads will point to recent releases by Testament and Megadeth as examples of metal DVD done properly, but there’s still enough that’s interesting about this effort to at least grant it an once-over.




ERIN FOX © 2005 - ALL RIGHTS RESERVED

Saturday, October 11, 2008

MNEMIC - The Audio Injected Soul


MNEMIC
The Audio Injected Soul
Nuclear Blast America
8/10




These Danes meld several different styles into a Frankenstein of metal sounds that is both engaging and brilliant. The band describes itself as 'fusion future’, and that description is a good one as the band has put together an array of interesting influences and tones without forsaking the aggressive nature at the core of their overall sound. This is a band that has put a great deal of thought into their songwriting, and the pieces on this album are refined masterworks of metal that grab the listener by the balls and drags them through a maze of crunching riffs, slamming drumbeats and massive vocals.

Mnemic expands on the sound forged by the pioneering Fear Factory, alternating between growling and tuneful singing with ease on songs like the rocking opener "Dreamstate Emergency". The band's riffs are focused and compact during the music’s heavier moments, ready to lapse into a frenzy of ferocious rhythm at any minute while still remaining cohesive on the melodic passages.

When Mnemic decides to thrash it out, they can hold their own with the best in the industry, remaining as violently forceful as a band like Messhugah without sacrificing the melodic structures that make their songs so dynamically entertaining. S

tandout tracks here include "Illuminate", "Sane vs. Normal" and "The Silver Drop". "Sane vs. Normal" is at once the most eclectic and the most creative track on the record... a schizophrenic rollercoaster ride through a post industrial playground of intriguing textures and superb arrangement.

Although this is the band’s second full length platter, Mnemic could still be considered a new act. If this album gets the airplay on metal radio that it so richly deserves, Mnemic shall emerge as one of the predominant forces in extreme music today.

With "The Audio Injected Soul" they have created an album that is challenging, trend-busting and immediately enjoyable to spin.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

Friday, October 10, 2008

BEYOND FEAR - Beyond Fear


BEYOND FEAR
Beyond Fear
SPV Records
8/10




On the self-titled debut from Tim “Ripper” Owens’ all-new outfit, “Beyond Fear”, Owens proves to be a highly capable metal songwriter in his own right, fomenting hammering heavy metal anthems that are on occasion akin to the Judas Priest-style that fans expect from the frontman, and during other times, Beyond Fear launch into self-confident hard rock that’s executed with both clout and fervor.

While cuts like the thundering “Scream Machine” attack with a classic metal vengeance, it’s the mid-tempo, rock oriented material such as “Coming At You” that allow Owens to open up his range and display the true nature of his vocal diversity. A heartfelt power ballad, “Dream Come True” lays out the story of the vocalist’s own life and experiences. Herein, you’ll discover a progressive influence that shows that Owens is a student of Tate as well as Halford. Featuring an impassioned vocal performance, this cut is the most likely to receive critical public praise. Although such material is a bit conventional, it’s executed in top-notch fashion, with the prevailing vocal control of Owens setting the pace for his band mates to capably follow.

Hot tracks include the chugging monster “And…You Will Die”, a cut set off by a piercing Owens scream and further strengthened by a burly, wall-of-steel guitar rhythm. “The Human Race” proves to be relentless, a double-kick fueled flurry of thick, slashing riffage and spite-filled tongue-lashing. It’s during moments like these that it becomes apparent Owens could front practically any band of his choice and gain an exactly similar, commanding effect.

In terms of production quality, this record really stands out. Studio master Tom Morris ensured that the hard-hitting instrumentation of Beyond Fear would pack a sufficient punch to back up the mighty vox of Owens. This record blasts from the cones as loudly as any other record out there, doing so with a crisp, clear force that perfectly matches the aggressive grooves and powerfully built attack of the band

While fans wait in earnest for the next Iced Earth album to hit the store shelves, this earnest exercise in the fundamentally appealing qualities of heavy metal should tide them over nicely. Yet another success in what’s becoming a long line of Ripper Owens’ sonic victories, Beyond Fear finds the vocalist continuing to have his finger on the pulse of the metal scene with yet another fantastic new project.


ERIN FOX © 2006 - ALL RIGHTS RESERVED

ANTHRAX - The Greater Of Two Evils


ANTHRAX
The Greater Of Two Evils
Sanctuary Records - 2005
5/10




Someone really should have advised Ian against making this record to begin with. It comes off as a marketing ploy as opposed to a genuine effort. When you look at a decision to spruce up the old bangers and throw them onto an album with a picture of Satan on its cover, it seems dubious the band has any original ideas left anymore.

Anthrax can continue to kid themselves, but John Bush is certainly no Joey Belladonna. Here, Anthrax takes a career full of great songs and turns at least one half of them into a mediocre snooze-fest. Bush’s boring vocals take away from the originals much of the time and the exciting feelings contained in those recordings is certainly missing.

Following repeated listening, it strikes the listener that this record could have been thought through a great deal more before it was released. But this type of meddling gives an impression much like George Lucas altering the original Star Wars in order to make Greedo shoot first. Although it is possible to clean up some tones or fix an off beat, when you add parts into the picture that weren't there before you inevitably alter the feeling and sense of those pieces forever. The perspectives of old fans will change.

This record will no doubt get the folks who preferred Joey Belladonna pretty fired up. Instead, this should be titled 'How to piss off about 40% of your fan base'. Anthrax is a cool enough band that they should give up the gimmickry and thrash out some solid records with some original ideas. ‘Keep It In The Family’ is not really something that we need to hear again in the first place. But hey, they remade them and we can't go back and change that.

A shred of redeeming value might beheld with fans such as myself who already happened to own every single other album by the band. I guess there’s always room for one more Anthrax record on the shelf.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

THE APOCALYPTIC RIDERS - Samurai


THE APOCALYPTIC RIDERS
Samurai
Nuclear Blast Records
9/10




The Riders is a band that exhibits many differing personalities on this latest ripper, ‘Samurai’. When alternating between moods that are somber and serious as on ‘Silence Of Sorrow’ or bringing forth a fun and entertaining feel on ‘Rock N Roll’, they never fail to give the listener a one hundred percent effort.

The group really shines on the grooving ‘Hey-Ho’, which is highlighted by the vocalist Fuchs dynamic range and powerful charisma. The group displays skill at a variety of styles ranging from full tilt speed metal to intense breakdowns which are filled with an epic sense of majesty. Listeners who are looking for something that deviates from the norm will delight in the soaring melodies of ‘Wahnsinn’, a song that contains lyrics sung in the band’s native Deutsch, as are about half of the tracks on ‘Samurai’.

The Riders make music that is highly energetic and undeniably artistic; taking care to inject song parts into their music that hold the listener’s attention and will undoubtedly, have you thrashing about the room in a moshing frenzy.

Dr. Pest provides keyboard accents that give the band’s music a modern sound, using sounds that step away from the norm for a metal band which includes a keyboardist in its lineup.

The melodic guitar harmonies performed by axe slinger Pitrone on ‘Eruption’ add a very interesting touch and his work over the course of the record is technically sound and contains a wide range of emotion. On the track ‘Der Teufel’ the band combines black metal style blasting and operatic sounding breaks, which work very well for the group, however schizophrenic.
If you had to compare The Apocalyptic Riders to another ensemble, it would be Faith No More. Although The Riders are much heavier than FNM, they possess the same uncanny ability to put on differing hats successfully without painting themselves into a corner musically. It is an impressive feat for a group to portray so many emotions without fitting into a stereotype.

Bassist Volk-man and Sir G., the group’s drummer, make for a thunderous rhythm tag team, tearing through headbangers like ‘Reitermaniacs’ with severe energy and blunt force.

The Apocalyptic Riders has done it yet again with ‘Samurai’, a challenging effort that is certain to appeal to a wide variety of metal fans.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

A PERFECT MURDER - Strength Through Vengeance


A PERFECT MURDER
Strength Through Vengeance
Victory Records - 2005
8/10




Talk about a vulgar display of power!

Yes, A Perfect Murder plays a style that is very similar to that of early Anselmo-era Pantera, an influence that shines through more so than any other. Listeners will also discover that A Perfect Murder is capable of more accessible grooving ala C.O.C. and Down.

So can it be said that A Perfect Murder possess a sound that is all their own?

Most certainly, they do not.

But this doesn’t change the fact that this band is damn good at what they do.
Consequently, it is pretty obvious that this band puts enough thought into their songwriting that it remains interesting. While some may feel that they have heard it all before, this simply is not the case. APM blend these inspirations into a massive fist of steel designed to bludgeon the listener into submission.

For example, the lead-off title cut lets loose with a thrashing barrage that segues into a mighty power groove. Kevin Randel’s vocals are suitably aggressive in order to fit well with the crunching guitars and slamming beats, and the singer opens up into a looser style during songs like “Wake Up And Die” showing that he can sing with melody just as well as he can issue a vicious, rabid bark. Those that long for the soloing style pioneered by Bay Area metal will certainly appreciate the six-string wizardry of Carl Bouchard. His technique fits the pounding rhythms well. Soloing with speed is only one facet of his skill; the guitarist also plays with a flair for accentuating the song on the whole. “Snake Eyes” is a southern sledgehammer, purveyor of a massive thump and a growling, slinking rhythm.

The best aspect of the entire record is the fact that APM keeps things flowing with contrasting songs that make the album one that you’ll want to listen to all the way through every time you put it in. A great album that seethes with an intense metal spirit, “Strength Through Vengeance” is a solid block of concrete that stands up as an excellent metal release.

ERIN FOX © 2005 - ALL RIGHTS RESERVED

Thursday, October 9, 2008

DECEIVER - Riding With The Reaper


DECEIVER
Riding With The Reaper
Iron Fist
8.5/10




Those nostalgic for gritty, late-eighties heavy metal like Venom, Raven and the like will find a lot to enjoy about this collection of hard-hitting beer metal tracks from Deceiver. Although the existence of this Swedish project was short-lived, they managed to crank out two full-lengths and an EP before splitting up earlier this year.

Although the sound of the group is more rooted in traditional metal than the speed-punk vibe that Venom so often produced, there’s a distinct parallel to the same kind of aura felt on tracks like “Slay The Rainbow” and “Raise Your Horns.” Musically, you’ll hear a touch of old-school Metallica here as well, but it’s a mistake to label Deceiver a full-on thrash metal outfit. “God Of Dead” contains the type of guitar melodies you’ll find in the NWOBHM sound, and one could possibly even throw in mid-career Judas Priest as a musical influence here. Pete Flesh, as many of you already know, is a very versed metal guitarist. His performance here is rough, raw and dirty-sounding. Most certainly, those who are into rough-sounding metal will totally get off on the thrashing, bone-crunching work the player delivers here.

Vocalist Destormo has an alcohol-soaked, barking voice that does much to articulate the band’s evil musical stance. “Destroy ‘Em All” finds the frontman letting loose with substantially violent rhymes, while his growls on “Mexican Thunder” are straight from the abyss – properly sinister and wicked fun to sing along with.

If you tend to wear a leather vest filled with buttons and patches with no shirt underneath and have a can of strong beer permanently glued to your palm, “Riding With The Reaper” will be right up your alley. It’s gruff and tough and just the way most fans of this kind of sound like it. Horns to thee, Deceiver!


ERIN FOX © 2007 – ALL RIGHTS RESERVED

REANIMATOR - Thrashin’ The Neighborhood


REANIMATOR
Thrashin’ The Neighborhood
Galy Records
5/10




Primarily, “Thrashin’ The Neighborhood” is a strictly pedestrian thrash metal affair courtesy of Canadian act Reanimator. At its best, the band manages to thrash out garden variety, b-grade material. At its worst, the group comes off as being a completely substandard bore. “Venom Of The Beast” delivers fairly unrefined playing that’s all the more painful when the track’s mediocre guitar solo ensues.

Reanimator could use a bit more time bashing it out in the trenches and discovering themselves as musicians. When thrash was still in its formative stages, it was more acceptable for bands to bring elementary ideas and student-grade musicianship to the table. We’re some twenty-five years into the existence of the style, however.

It should rightly be expected that bands have a certain degree of proficiency, both in terms of songwriting and performance, before releasing records for mass consumption.

Simple to see how these guys could get a gig opening for Anvil, but beyond such aspirations, it’s unlikely you’ll be seeing Reanimator stopping by to thrash your own neighborhood anytime in the foreseeable future.


ERIN FOX © 2007 – ALL RIGHTS RESERVED

Crown The Lost - Reverence Dies Within

Crown The Lost - Reverence Dies Within

Crown The Lost
Reverence Dies Within
Independent Release
7.5/10



First thoughts? Way impressed. As a massive Megadeth follower, it’s all too easy to get into the thrashing grooves and technical aptitude of Crown The Lost on this debut run. Opening with a track called “Devoid Of All Praise,” which fuses solid musicianship, mighty riffery and astute melodic interplay, it’s hard to not be reminded of the rhythms of “Rust In Peace.” Credit one David E. Gehlke for the savage onslaught herein, as the axe handler capably incorporates finely textured metal mayhem that’s certain to be appealing to thrash metal lovers who appreciate a fine aural bludgeoning. When vocalist Chris Renaldi storms in with an authoritative presence, the direct comparisons to the ‘dethsters fall by the wayside, with CTL opening up a fine can of suitably thrashing whoop-ass that’s effectually obliterating. On-point production by Eric Klinger (Pro Pain) brings out the best in Crown The Lost. All of the instruments are hot and upfront, with a killer mix bringing every razor-sharp nuance to the fore. Keep a close ear on drummer Jon Rice, who issues popcorn blasts and rapid-fire rolls with the best of them. His performance on “Your Faith Is Not Mine” is top-notch, while his hard-driving sensibilities power cuts like “Without End” effortlessly. Rice knows enough to not overplay, but when he lets loose with an intense barrage of skin-bashing, the weak had better step aside, because this skin-basher has the potential to annihilate everything in his path. Throughout the nine tracks of “Reverence Dies Within,” you’ll marvel at the solid instrumentation, including the exceptional rhythm attacks of Gehlke, who definitely has a sensibility for creating potently ear-damaging axework. When coupled with the vicious shredding of Joe Bonaddio, you’ll no doubt be blown away by the guitar tandem’s ability to flatten all within their path. An excellent introduction to one of metal’s rising thrash squads, “Reverence Dies Within” delivers exactly what’s expected with an overwhelming vengeance.
© 2005 ERIN FOX – ALL RIGHTS RESERVED

Kreator - Enemy Of God Revisited Review

Kreator - Enemy Of God Revisited Review

Kreator
Enemy Of God Revisited
SPV
8/10
Kreator Official Website


Let’s get right down to business. This DVD is a Kreator fan’s freaking wet dream! An amendment to the band’s awesome 2005 record, “Enemy Of God,” this DVD is packed with plenty of cool features and enough great Kreator footage to make it worthy of purchase for any true Kreator fan.


First of all, you’ll find the entire “Enemy Of God” record mixed in Dolby 5.1 Surround Sound. If you’re a metalhead that lives under a rock and missed this amazing thrash landmark the first go-around, we won’t tell anyone. But know that this record is a must have. For fans that complain that Megadeth and Metallica have sold out over the ages, “Enemy Of God” is a great example of an excellent c thrash metal record from an old-school band that hasn’t forgotten how to dish out the lethal damage. Hearing the in-your-face pounding of the record’s roaring title track alone makes it worth the price of admission. This sounds simply killer.

Next, you’re treated to a monster live set as Kreator annihilates Wacken. Mille Petrozza gets the crowd really riled up for a blistering version of “Pleasure To Kill.” Here’s ample proof that Kreator has not lost one single degree of intensity over the years. All of the band’s prime cuts are here, from a thunderous “Extreme Aggression,” fueled by the slamming double-kick drums of Ventor. Sami Yli-Sirniƶ gives the live offering of “People Of The Lie” plenty of beef, while bassist Christian Giesler slams down an enormous bassline after a venomous speech from Petrozza during “Flag Of Hate.” Make no mistake; Kreator is pissed as hell during this live set, which on its own would easily be worth having. With fourteen tracks in all, the concert performance is rounded out by vicious versions of “Impossible Brutality,” “Tormentor” and “People Of The Lie.”

On to the extra treats. Three bonus liver cuts shot for a 2005 German TV show are included. “Servant In Heaven – King In Hell” smokes, while the band also rips through a great version of the overlooked cut “Renewal.” If that’s not enough, the package includes video clips, including an interesting animated clip for “Dystopia,” an extended, uncensored version of the “Enemy Of God” clip that’s been blasting all over Headbangers Ball and On Demand as of late, vids for “Impossible Brutality” and “Dying Race Apocalypse” and to top it all off, a cool documentary on the making of the “Enemy Of God” video.

If you’re a Kreator fan, this DVD is nothing less than mandatory. From start to finish, this is a killer production, right down to the revamped artwork that is literally the icing on the cake. It’s great to see this revered band represented in such an awesome fashion, with SPV quality stamped all over this beast of a video release. Run, don’t walk to the nearest record shop and pick this one up, you will not be disappointed.

Necrodeath - 100% Hell

Necrodeath - 100% Hell

Necrodeath
100% Hell
Scarlet Records
2/10



Backpatch thrash that's very beholden to the German scene of the late eighties, Necrodeath serves up an above-average ass-whipping that's negated about two minutes in by some of THE most annoying roto-tom sounds ever laid down to tape. Any drummer and certainly any, any producer knows that roto-toms are to be used extremely sparingly and the fact that this guy can't keep his sticks off of them is at first unusual, then amusing, then downright annoying. The insanity spills over into "War Paint," and at this point, a temper could easily be lost. Get Will Farrell over here and cue the "Needs more Roto" jokes.


It's too bad, really. There's some excellent guitar work and quite a few great songs on this record, but those rotos are so damn annoying, it pains the listener to an excruciating degree. No guest appearance of any magnitude is gonna save this puppy, so let’s not even get into that. Remix this thing and eliminate the insanity and you have a decent thrash album. Might I suggest calling Roto-Rooter, sirs?