Coroner - R.I.P. - June 1, 1987

While the USA's west coast was getting attention for some excellent technical melodic thrash albums, a band from Switzerland named Coroner made sure we wouldn't forget about the European thrash metal contribution! And what a contribution it is -- fast, heavy and with riffs so far out the ass they don't stink anymore, Coroner's debut is a powerhouse of tech thrash. A fairly unique-sounding album, with perhaps a little Megadeth flavour to it, R.I.P. is as solid an album as you'll find. There really aren't any weak spots. All band members are musicians of the highest order, with only Ron Royce's vocals being less than spectacular but they fit the music and do not take away from it. Seriously though, put it on random. You won't find a bad track -- even the intros are good.

1. Intro
2. Reborn Through Hate
3. When Angels Die
4. Intro
5. Nosferatu
6. Suicide Command
7. Spiral Dream
8. R.I.P.
9. Coma
10. Fried Alive
11. Intro
12. Totentanz
13. Outro

Score: 9.5/10

Possessed - The Eyes of Horror - May 31, 1987

At some point after the release of their influential debut, Possessed decided they wanted to be less cutting edge death metal and more conventional thrash. After a good but slightly confused transitional album in Beyond the Gates, Possessed released this 5-song EP, and the transformation seems to be complete. There are still hints of death metal -- the vocals for one remain unchanged and while there are some pretty twisted riffs present they just aren't as evil and ugly as they were only two years earlier. Very solid thrash metal is what we have here though, with a much cleaner sound than we've heard from this band before. Unfortunately, this is the last we would hear from the band until 2003.

1. Confessions
2. My Belief
3. The Eyes of Horror
4. Swing of the Axe
5. Storm in my Mind

Score: 7.5/10

Heathen - Breaking the Silence - May 1, 1987

If it wasn't already obvious with the debuts of Testament and Death Angel earlier in 1987, it becomes painfully clear with Heathen's first album -- the Bay Area sound has arrived. Much like the two previous bands, Heathen plays an aggressive, technical style with heavy emphasis on melody and hooks -- and they are probably the best example of it so far. Breaking the Silence hits the ground running, with the first three songs being absolute winners packing all kinds of great riffs into wonderfully crafted songs much in the same vein as Metallica's Ride the Lightning years earlier.

Breaking the Silence is a little top-heavy as the real gems are all found in the first half although the album does close on a high note with "Save the Skull". The songs also start to get slightly repetitive as most seem to feature some sort of speedy gallop. The cover tune, a very well done version of Sweet's "Set Me Free" breaks up the flow of the album a little as well. There are no bad songs though as even the worst would still qualify as most other bands' best.

1. Death by Hanging
2. Goblin's Blade
3. Open the Grave
4. Pray for Death
5. Set Me Free
6. Breaking the Silence
7. World's End
8. Save the Skull

Score: 9/10

Mutilator - Immortal Force - May, 1987

Hailing from the same place as Sepultura, it comes as no surprise that Mutilator play a very similar style as those legendary thrashers did in 1986-87. Front man Alexander was even asked to join Sepultura when Jairo left the band in 1987 but turned the offer down. Fast, raw and verging on death metal, Mutilator certainly don't lack for enthusiasm or energy. What separates Sepultura from a band like Mutilator though is true songwriting skill. Even on Morbid Visions, Sepultura displayed a clear ability to build drama and suspense in their songwriting, and most of the songs flowed very well with lots of varied parts. When listening to Mutilator's first album, this is not the case. The band's end game is always the same: blinding speed -- which is all fine and good, but it gets a little predictable as the album goes on. It's a shame too, because there are a lot of cool mid-paced and even epic sounding passages thrown in that seem like they should lead to something even cooler -- but they don't. Just speed. I like speed -- this is a thrash retrospective after all, but sometimes there's just too much of a good thing.

1. Memorial Stone Without a Name
2. Blood Storm
3. Butcher
4. War Dogs
5. Mutilator
6. Brigade of Hate
7. Immortal Force
8. Tormented Soul
9. Paranoic Command

Score: 5.5/10

Artillery - Terror Squad - April 24, 1987

My mother always told me to never judge a book by its cover, and seldom has this advice been more valuable than when listening to Artillery's sophomore effort, Terror Squad. Terror Squad's cover is utter shit, apparently supposed to be an artist's rough draft, but the music contained within is some pretty strong thrash.

Artillery's second full-length builds on the strengths of their first -- fast and heavy with Flemming Ronsdorf's incredibly charismatic vocals providing the storyline -- how can you lose? You can't really... the album does start to take a bit of a dive towards the end -- there are still solid tunes to be found, but they're just not up to the level of the first four songs which probably rank as one of the better album sides in thrash metal history. At the time of it's release, Terror Squad was one of the absolute best European thrash records, and it still holds up -- cover not withstanding.

1. The Challenge
2. In the Trash
3. Terror Squad
4. Let There Be Sin
5. Hunger and Greed
6. Therapy
7. At War with Science
8. Decapitation of Deviants

Score: 8/10

Death Angel - The Ultra-Violence - April 23, 1987

Death Angel's debut is a bit of a funny one. One on hand, you have a young group of guys who have grown up immersed in the sounds of Metallica, Exodus, Possessed and the like. They are obviously talented, determined musicians who even caught the attention of one of their idols, evidenced by the fact that Metallica guitarist Kirk Hammett produced their demo, Kill As One. On the other hand, you have a young band so caught up in their hometown scene that they maybe go too far in trying to emulate that sound. The trademarks of the Bay Area sound are there: the vicious yet melodic riffs, the catchy choruses complete with gang vocals, the long and winding song structures.

Yet, there is something keeping this band and album from reaching the heights of those aforementioned bands -- the songs lack true, thoughtful development because it takes a back seat to youthful exuberance and the desire to actually become their idols. A lot of the songs drag on for far too long, cramming riffs together that may not necessarily fit. Songs like "Evil Priest" or the sprawling title track are prime examples of this, most likely going for Ride the Lightning levels of riffery.

The overall sound of the album though, is clear and heavy, especially remarkable when compared to Testament's debut, which came just two days before. Much like Testament though, there are some excellent individual performances here. Then 15-year-old drummer Andy Galleon's probably sticks out the most because well, he's FIFTEEN. Vocalist Mark Osegueda's performance is also notable, as he unleashes some pretty ridiculous screams while singing and snarling his way through songs like some kind of Bobby Ellsworth-Joey Belladonna hybrid. 

Is The Ultra-Violence the best classic Death Angel release? Most likely, which doesn't bode very well for their others. The debut is enjoyable enough though and is worth at least a few listens.

1. Thrashers
2. Evil Priest
3. Voracious Souls
4. Kill as One
5. The Ultra-Violence
6. Mistress of Pain
7. Final Death
8. I.P.F.S.

Score: 7.5/10

Testament - The Legacy - April 21, 1987

Clearly a product of the Bay Area scene, Testament were probably the first of the "second wave" thrash bands (if there truly was such a thing) to release a full-length album. Obviously influenced by the likes of Metallica and Exodus, Testament were melodic, technically sound and uncompromisingly vicious. Most songs are played at surprisingly fast tempos, given the difficulty of the material, especially when taking into consideration the speed at which they would be played some 25 years later by the same musicians, save one (drummer Louie Clemente).

Testament's main strength is the proficiency of their members at their given roles. They lucked out big time when Steve Souza left to join Exodus and hulking frontman Chuck Billy stepped in. In his prime, which evidently was some time around 1987, the man could sing, shout and shriek like no other, sounding like the unholy descendant of James Hetfield, Tom Araya and a pack of wolves. Lead guitarist Alex Skolnick is probably the first true virtuoso we've seen in thrash metal. His leads range from damn good to awe-inspiring, leaving pentatonic-rager Kirk Hammett and whammy-bar afficionadoes King and Hanneman in the dust while giving Dave Mustaine a run for his money. Eric Peterson has always been underrated in the riff-crafting department, but it's clear he was excellent right from the start, blazing through firey riff after firey riff. The rhythm section of Greg Christian and Louie Clemente is nothing if not solid, and while neither player shines, they lay the foundation for the others to do so.

The main gripe with early Testament was always the production, and this is a valid complaint. The guitar sound is muddy, and while it is nowhere near the worst among mid-80's thrash records, it is certainly surprising given that it was released by a major label. There's a whole lot of good stuff here though, as most of the songs are thrashers of the highest order, with only the odd clunker -- one being "Do or Die", a song all but forgotten in the Testament catalogue, and a few songs undeserving of the 'classic' label bestowed on them, namely "The Haunting" and "Alone in the Dark". Of course, there's also the fact that Testament doesn't really present anything original on The Legacy, largely echoing their predecessors. The execution though, leaves little to be desired.

1. Over the Wall
2. The Haunting
3. Burnt Offerings
4. Raging Waters
5. C.O.T.L.O.D.
6. First Strike is Deadly
7. Do or Die
8. Alone in the Dark
9. Apocalyptic City

Score: 9/10