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

Voivod - Killing Technology - April 3, 1987

Once the title track of Voivod's third release kicks in, it's pretty clear that we're not in Kansas anymore! Vicious riffs coupled with odd chord choices assault your ears, while a driving, distorted bass and pummeling drums make you look to the sky in fear of alien invaders. Then, a madman prophet starts shouting and screaming in your ear, and you realize... this is what Voivod was meant to be! Voivod's first two albums were sloppy, messy blasts of punkish thrash that left much to be desired. Their third though, is easily the most unique thrash album to be released at this point. The band does a wonderful job of creating a filthy, horrifying, robotic atmosphere in almost every song, that you truly feel as if you are lost in space, as one of the tracks suggest. 

What's amazing to me is just how much of a total mindfuck this album is. I had never enjoyed this album when I spun it over 10 years ago after thinking myself a true thrash metal fan. Even when I listened to it the first time for this review, it didn't click, but I heard something interesting, so I persevered and I'm glad I did for Voivod is not truly a thrash band and thus they do not play a conventional thrash style. The feel, the atmosphere, the drive behind the music is different than say, Slayer or Exodus. Voivod exists on a different plane -- not necessarily a higher one -- where Slayer delves the depths of human depravity, telling tales of murder and satanism, Voivod looks to the skies and wonders what evil lurks above?

The execution is not totally perfect, of course. There are some parts of songs that feel totally disjointed from others, which is an expected result of a band trying to become more progressive and focused but an undesirable one none the less. Snake's vocals are also a bit of an acquired taste as he talks, whines, shouts, screams over the exotic soundscapes below, but then again, how many metal vocalists aren't acquired tastes?

At any rate, personally, this is huge. Until a week ago, I hated Voivod. 20-year-old me is shaking his head, going "dude..." It just goes to show you, just because you hated something before, if you allow yourself to be open and to grow (I can hear my wife laughing now), you may find some value in that thing you hated.

1. Killing Technology
2. Overreaction
3. Tornado
4. Forgotten in Space
5. Ravenous Medicine
6. Order of the Blackguards
7. This is Not an Exercise

Score: 8.5/10

Anthrax - Among the Living - March 22, 1987

After two full-length releases, Anthrax have proven that they are quite capable of writing music that is catchy as hell while remaining every bit as heavy. Their second album, Spreading the Disease featured whiplash-inducing thrash riffs coupled with infectious choruses infused with gang vocals and lead singer Joey Belladonna's soaring vocals -- the latter being a feature that separated them from the rest of the thrash metal pack, who's lead vocalists could usually be heard shouting, screaming or growling over the same type of riffage.

Enter Among the Living. The vocal approach has remained largely unchanged from Spreading the Disease. Belladonna is still truly singing over thrash riffs with barely even a hint of gruffness to his voice. The gang vocals seem even more prevalent however. It's almost as if Scott Ian has heard the Metallicas and Slayers of the world, and decided to add some sandpaper in the vocal department to match the ridiculous heaviness of the instrumentation, which is indeed ridiculous.  There are very few albums at this point in time that sound as bone-crunchingly heavy as Among the Living does. "Caught in a Mosh" in particular embodies the Anthrax sound -- heavy as all hell, but every bit as catchy as anything Motley Crue could write. Songs like "Indians", "One World" & "NFL" follow suit, thrashing like mad and engraving themselves into the minds of bangers the world over.

There is a problem, however. That problem is filler. Songs like "A Skeleton in the Closet", "Horror of it All" and even the title track certainly present heavy enough music but are too simplistic in their riffage, so much so that the overall result is rather underwhelming. The feel is more punk than metal, more "go through the front door" than "find a second-floor window and kill 'em from there". There is a savage cleverness to albums like Ride the Lightning and Peace Sells, but that attribute is not always here. Anthrax writes front-door, smash-you-in-the-face riffs, and that's it, and it's OK for the most part. If this is Anthrax's finest moment (which, in the eyes and ears of many, it is) then it is no wonder that they are considered "Band No. 4" in the Big Four.

1. Among the Living
2. Caught in a Mosh
3. I Am the Law
4. Efilnikufesin (N.F.L.)
5. A Skeleton in the Closet
6. Indians
7. One World
8. A.D.I./Horror of it All
9. Imitation of Life

Score: 7.5/10

Overkill - Taking Over - March, 1987

It's funny the way you place things in your mind when you haven't put a whole lot of thought into where those things go... I always thought Taking Over was a bit of a step down from Overkill's brilliant debut, but upon further listening and really doing a hard comparison of the two, it's a real tough call. Taking Over is at least Feel the Fire's equal, and maybe even a couple points better!

The overall sound on Taking Over is the same as it was on the debut, which is no surprise given that a lot of these songs were written around the same time as those on Feel the Fire. The guitar tone on Taking Over is heavier though, and the band sounds tighter as a whole while retaining Overkill's already trademark reckless snarl. Songs like the opener, "Deny the Cross" as well as the eyebrow-raising tandem of "Use Your Head" and "Fatal If Swallowed" string neck-snapping riffs together in an almost organic fashion, making this one of the more complete and developed albums in the major growth period of the genre.

There are some weak points of course, like Blitz's vocals at times which seem to be just too clean, most notably on "In Union We Stand", though this is certainly not the rule but the exception. Overall, it's a very solid thrash album, and if nothing else, listening to it a few times with such a critical ear made me realize that my favourite band is even more awesome than I originally thought!

1. Deny the Cross
2. Wrecking Crew
3. Fear His Name
4. Use Your Head
5. Fatal If Swallowed
6. Powersurge
7. In Union We Stand
8. Electro-Violence
9. Overkill II (The Nightmare Continues)

Score: 9.5/10