State of Euphoria
Released September 19, 1988
The year 1988 was a joyous time for this nineteen year old metal loving teenager. Most everyone I know at the time were enthralled with Metallica’s…And Justice for All; released on August 25th of that year and rightly so. For me though, the other big release of that year came a month later in the form of State of Euphoria courtesy of New York City’s Anthrax. It was the fourth studio release from these East Coast thrash pioneers and it reached number 30 on the Billboard 200 chart and went certified gold in early ’89. Not bad for a band riding high off the heels of previous release Among the Living (considered a thrash classic). For my money’s worth, this album tore me to pieces in ways that Justice couldn’t. The thrash was frenetic at times; coupled with smart lyrics and packaged with a mind-disorienting cover image that I kept looking at over and over.
The songs on State displayed a more sardonic and witty side of the band and backed by my favourite track “Make Me Laugh” (about the evils of Televangelism). Of course, the group dipped back into Stephen King territory for “Misery Loves Company” and used David Lynch’s scatological brain-fuck – Blue Velvet as inspiration for “Now It’s Dark”. There’s also some social commentary centering on the urban troubles of homelessness for “Who Cares Wins” and a cover of “Antisocial” from the band Trust that has now become a popular staple in their live set.
There are some that say this album failed to live up to expectations following Among the Living, but yet the band decided to reveal a whimsical side; just based on utilizing Mad Magazine’s Mort Drucker for the back cover album art. For me though, the band’s solidarity is proof when you consider the tours they went out on with Iron Maiden, Ozzy, Metallica and Living Colour; thus cementing their thrash metal elite status of that year.
My favorite tracks on this are: “Out of Sight, Out of Mind”, “Make Me Laugh”, “Antisocial”, “Who Cares Wins”, “Now It’s Dark” and “Misery Loves Company”. I’m giving this a whopping 9 out of 10.
Flotsam & Jetsam
Released October 13, 1992
In 1992, Flotsam & Jetsam released their fourth studio album appropriately titled Cuatro (meaning the number four in Spanish). There are some ardent thrash fans who believe this album may have been the beginning of the end for the band, but I beg to differ. It’s true that the band was leaning far and away from the thrash template established at the start of their career, but Cuatro streamlined their sound and opened the door for some solid song-writing in the process. In particular Chris Cornell (of Soundgarden fame) who co-wrote the “The Message” with the band; notwithstanding the superior “Swatting at Flies”; which is now a staple in their live shows.
In my mind, Cuatro proved the band had more in mind than just mindless chugging and relentless aggression. Sure the youthful anger might be pulled back some, but mature song-writing and thought provoking lyrics take centre stage here. There is certainly a slight twist of Grunge permeating a track like “Wading Through the Darkness”, but speedy numbers like “Natural Enemies”, “Never to Reveal” and “Hyperdermic Midnight Snack” provides the album with enough of a metallic edge. There’s even a thrashy-groove vibrating through “Are You Willing” and the exclamation point is slammed down on final track “(Ain’t Nothing Gonna) Save this World”; complete with sampling and an experimental approach to song structure.
Cuatro was re-released on May 13, 2008 by Metal Mind Productions with new packaging and liner notes from the band. For my money’s worth, I’m giving this a solid 8 out of 10 and will say the album might be on par with Metallica’s Black Album in terms of rejigging the thrash sound for the 90’s. Some great numbers are: “Natural Enemies”, “Swatting at Flies”, “The Message”, “Cradle Me Now”, “Never to Reveal” and “Hyperdermic Midnight Snack”.
Coma of Souls
Released November 6, 1990
The fifth studio recording from Kreator is noted for two interesting aspects; firstly it was released in the US with the dreaded Parental Advisory label on the cover because it contained profanity. Secondly, it was the last pure thrash album produced by the band before they began experimenting throughout the 90’s. As a band, Kreator’s musical output has always been frantic, varied and somewhat perplexing at times, but there is no mistaking that patented Teutonic thrash sound they thrive to perfect which each new release. Coma of Souls is arguably their most polished piece; spawning several great cuts and produced by the great Randy Burns no less.
Like any manic steamroller, the album picks up from where they left off with Extreme Aggression; diving head first into a miasma of superbly controlled guitar work and precise melodies. The aggression is still high and Millie laces the songs with poignant lyrics throughout, capping off the 80’s and entering the 90’s with an album that would put Metallica’s Black album to shame in some respects. Like Metallica though, Kreator would abandon thrash metal during the decade of the 90’s with jaunts into Industrial, Punk and Gothic metal before making their triumphant return to thrash with the fine album Violent Revolution in 2001.
On a whole, Coma of Souls gave us some explosive tracks like: “Coma of Souls”, “People of the Lie”, “Terror Zone”, “Agents of Brutality” and “Mental Slavery”. Without a doubt, this is Kreator’s finest moment and I am giving this one heck of a rating as a sure fire 10 out of 10 in my books.
The American Way
Metal Blade Records
Released May 15, 1990
In 1990, Sacred Reich unleashed a thrash classic, utilizing some progression, but staying the course with that take-no-prisoners approach to their song writing. All the songs were lyrical firecrackers, and musically; the band wanted to expand their horizons without straying from their roots. What resulted was a multi-layered platform of thrash, combined with groovy riffs, catchy choruses and politically charged lyrics. For my money’s worth, the change in sound meant a more balanced and focused approach, despite the thrash die-hards complaining about the change in direction; keeping closed minded to this new horizon.
Phil Rind pitched it hard; utilizing his beefy vocals to the fullest extent and striving for something more than just the all-out thrash approach heard on Ignorance (their previous release). In fact the band would even go on to include “31 Flavours” appearing as the final track on the album; going off the deep end with a funky number that felt out of character for the boys. The quality of the track might be questionable to most metal heads at the time, but it did prove to what great lengths the band would go for progression.
Ultimately, the album received mixed reviews from fans and critics alike and it’s a real shame, given how strong some of the individual numbers are on this release. A least the video for “The American Way” was used in the movie Encino Man, so that was one positive out of this. One thing is certain about this release; it just proved how close-minded most metal heads of the 80’s were when it came to getting a little progression with your thrash metal.
I’m giving this album a 9 out of 10 and I consider this a seminal piece of thrash metal for the time. Favorite tracks are: “Love…Hate”, “The American Way”, “Crimes Against Humanity” and “State of Emergency”.
Moldavian Symphonic Extreme/Dark Metal band Esperoza released their new album “Aum Corrupted”. The album was recorded on Temporal Displacement Records, mixed/mastered by Christian Donaldson (Cryptorpsy) and released on WormHoleDeath Records.
The band was formed by Zoya Belous and Dmitrii Prihodko in 2010. In 2012 they released their debut EP “Tempest”, and in 2014 the band released a full length album “Esperoza”. This was followed by concerts, festivals and a tour in Moldova, Serbia, Croatia, Hungary, Slovakia, Poland and Ukraine.
Released October 27 1997
In Flames recorded their third release in 1997 and it was apparently a hard album to record because the band would rather drink beer and play video games all day long. Guitarist Niklas Sundin transcribed all of Anders Friden’s lyrics from Swedish to English, and it was also the last release to feature Johan Larsson and Glenn Ljungstrom. This is also the last album to have drummer Bjorn Gelotte, as he switched to playing guitar on latter releases.
Whoracle is considered to be a concept album detailing the past, present and future of the Earth. The majority of the lyrics describe a society broken down due to an apocalyptic event; the song “Jotun” is a perfect example of this. Other songs like “Episode 666” describe the perversity of televising such devastation and the heart of the material hits home on tracks like “The Hive”. Other tracks like “Jester Script Transfigured” chillingly describe a technological advanced society brought down by human folly, thus warning of a utopian world that can never truly be. The band also included a cover of Depeche Mode’s “Everything Counts” which oddly enough fits perfectly into their theme of humanity’s downfall.
It is also worth noting that Whoracle continues to excel in the melodious riffing department and even leans more towards an angry and aggressive vibe that is not present on future releases. Some critics felt the melo-death approach can only be stretched so far, so it’s not surprising the band began streamlining their sound on following releases like Colony and Clayman.
As a whole though, Whoracle is a strong release and deserves a solid 8 out of 10 in my books. I think the standout tracks include: “Jotun”, “Food For the Gods”, “The Hive”, “Jester Script Transfigures”, “Morphing Into Primal” and “Episode 666”.
The Horror Show
Released June 26 2001
The sixth studio release from Iced Earth is the perfect album to review for Halloween, since the core of the record is all homage to classic monsters and horror movie icons. The album features drummer Richard Christy’s debut and the only appearance of bassist Steve DiGorio (from the band Sadus). This release is considered straight forward and deviates a bit from the thrash formula of previous releases; opting for more power metal based compositions and allowing singer Matt Barlow a chance to push his multi-layered vocals to the forefront of the album.
The majority of the songs centre around classic monsters like the Wolfman, Frankenstein, Dracula, The Mummy and a few modern incarnations like Damien (from the Omen) thrown in for good measure. The tapestry of monsters forces the song writing to come across a bit uneven, especially when you include a cover of Iron Maiden’s Transylvania. There are of course other interpretations here with lyrics centering on The Phantom of the Opera, Jekyll and Hyde, Jack the Ripper and Creature from the Black Lagoon. Not a bad collection of monstrous beings to cull songs from, but coming across a bit uneven by most critics’ standards.
I can’t say I am 100% on board with this release, but obviously the general consensus here is the concept is interesting, despite lacking that ‘horrific” edge for most of the songs. You would think with a solid line-up of players on this release – we would have a strong contender given the album title and the choice selection of monsters, but sadly that wasn’t the case.
I’m giving this release a respectable 7 out of 10 and will point out that tracks like “Wolf”, “Damien”, “Jack” and “The Phantom Opera Ghost” are all solid songs, but the standout track here is Iron Maiden’s “Transylvania”.
Released October 4 1993
The third studio release from Sweden’s famed death metal outfit Entombed took an extreme turn stylistically with this effort from 1993. The band decided to move away from their death metal roots and adopt a mid-tempo groove style they termed “death ‘n’ roll”. For fans of their first two landmark albums (Left Hand Path and Clandestine), this was a shocking turn of events. Although still exhibiting a dark vibe to their core sound, the new style divided fans over the direction the band was taking and some even went on to say they sounded more like Pantera. Obviously, the new direction gave the band more commercial viability and it gave Earache a chance to strike up a deal with Marvel Comics to use the character Wolverine on further pressings for the album cover.
That decision did not help the band’s cause though, when Marvel wanted the CD heavily edited to drop the track “Out of Hand” from the album and the audio samples were subsequently removed for fear of possible legal action over unlicensed use. The band lifted the samples from films like Flatliners and Hellraiser III and it helped to give the songs that extra edge. With those changes in tow, the album still went on to find success by getting ranked at # 494 in Hard Rock Magazine’s book of the 500 greatest Rock & Metal Albums of All Time and it was also declared the best Death Metal Album in 1994 by Guitar World.
My Favorite tracks on this release are: “Eyemaster”, “Wolverine Blues”, “Demon”, “Full of Hell”, “Hollowman” and “Out of Hand”. This album gets a respectable 8 out of 10 and despite some of the stylistic flaws, this release still ranks up there as a classic Entombed album.
Released Summer of 1988
The breakthrough album for Canada’s Killer Dwarfs was on their third release Big Deal released in the summer of 1988. It was their first signing to a major with Epic Records and of course the album’s title is play on the big deal they signed for this release. The band is known for their offbeat sense of humor, hence the name Killer Dwarfs; but it was their penchant for writing hook-laden songs coupled with the sweet melodic voice of vocalist Russ Dwarf; to really define their sound and look.
On this release, the band received much recognition throughout Canada and the United States; making way for the single “We Stand Alone”. Filmed in Toronto during the month of March in 1987, the video received major play on Much Music and MTV, allowing the Dwarfs major exposure to metal audiences across North America. An even greater testament to the band’s popularity came when Iron Maiden requested they go on tour with them during their Seventh Son epic extravaganza jaunt across many major cities.
There are some that say this release lacked the spirited energy of their first two albums, but the production was greatly improved and it was the first time the Dwarfs worked with a big time producer. It definitely showed on tracks like “Breakaway” and “Desperadoes” and I can’t forget the superb track “Power”. Obviously this is a solid record from start to finish and it proved this quirky little band from Oshawa, Ontario had more up their sleeve in years to come.
Favorite tracks are: “Breakaway”, “Desperadoes”, “Power”, “Startin’ To Shine”, “Tell Me Please” and “We Stand Alone”. I’m giving this a respectable 8 out of 10.
Vinyl records collectors