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HADES - DAMNATION (2001)

Around the year 2000 Hades had a little revival and they released three power / thrash discs in three years through Metal Blade records, albums that at the time helped to reawaken the slumbering thrash scene before it was popular again. But Hades never was a band that got the attention they deserved, maybe because this album seems to be their last, though the band is still active at least according to the Metal Archives-website, but don't go and expect any new albums to be out soon.

Vocalist extraordinaire Alan Tecchio later joined Seven Witches and he has done some work in Watchtower lately. Alan who uses the falsetto technique like a more traditional metal singer, not completely unlike Maiden's Bruce Dickinson. Drummer Ron Lipnicki is also new in the Hades Lineup and he is a comptent drummer and he is perhaps more known for his work on Overkill's last couple of albums (Immortalis, Ironbound, The Electric Age, White Devil Armory).

Overall the musicianship is high but the songwriting is at times not interesting enough make DamNation into a classic piece of work.

The music here on Damnation is heavier and sounding more like a metal album compared to perhaps all of their earlier albums, I like that, there are much less bluesy Black Sabbath-like moments and more of the Metal Church meets Agent Steel and Sanctuary-sound that Hades should be doing. A few tracks are quite uninteresting musicly but Hades delivers great vocals, heavy riffs and great production values that can compete with the bands such as Maiden, Saxon and Priest. I really hope that Hades can come together once again and deliverer what I think that they've got in them, an album up there with popular revival albums such as Ironbound, Dark Roots of earth, Relentless Retribution, Enemy of God and Tempo of the Damned. Maybe that's wishful thinking but I'm pretty sure that Hades got it in them. 

⭐⭐⭐

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HADES - THE DOWNSIDE (2000)

The Downside from Jersey's Hades might be most known for the intro track, Ground Zero N.Y.C., a song about terrorists destroying New York City and this song was written a year before 9/11. The conspiracy nuts are scratching their heads, wheter you believe all that crap or not that's up to you, but that's some Nostradamus shit to write songs that later come true. But let's put that aside and talk about The Downside instead.

Hades has always been categorized as thrash to some degree but there really isn't a lot of thrash here. This is no way harder than your more modern Judas Priest or Metal Church-release. That is why this album get's a little lower rate because this is essentially a heavy metal record. Think more modern day Judas Priest and add a dose of Soundgarden and Agent Steel and you'll understand how this album sounds, but with higher degree of slow riffs than what Agent Steel usually deliver.

Sadly there are no real speedy numbers to talk about on this record. The band is competent musicians and all, the album is beautifly produced and the vocals are clean. Great might some think but as this is a thrash metal site and Hades deliver solid yet unmemorable heavy metal I can't give the album more than two and a half stars. The first couple of songs on the album is slightly better than the second half of the album, but those songs doesn't save The Downside from getting a semi-cold review. The track Ground Zero N.Y.C. has a few riffs that reminds me of Dead Skin Mask by Slayer but that's about it in terms of aggression. So I'll be a little cheap on the stars here, two and a half out of five. 

⭐⭐

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HADES - THE DOWNSIDE (2000)

I remembered that I liked this album back in 1999 when it was released but I haven't listened to it since. After a few spins I must say that it hasn't aged that well. I saw it as an equal to their two first albums but I must readjust that view because $avior$elf must be considered as highly average.

Hades never were the thrashiest band around and on this album there are a few Alice in Chains-like ballads but mostly we're presented with a dose of steady heavy/power/thrash-metal, The album is drawing similarities to Flotsam and Jetsam, Death Angel and Armored Saint to name a few.

If you like thrash metal with clear and great highpitched vocals you definitely should check Hades out. The highly recognizable Alan Tecchio might be more known for singing with prog-thrash legends Watchtower. On $avior$elf there are a lot of harmonies but the solos are almost nonexistent. In hindsight I will mostly remember this album for Alan Tecchio's great falsetto vocals. $avior$elf is an enjoyable album that deserves a few spins.  

⭐⭐⭐

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HADES - $AVIOR$ELF (1999)

I remembered that I liked this album back in 1999 when it was released but I haven't listened to it since. After a few spins I must say that it hasn't aged that well. I saw it as an equal to their two first albums but I must readjust that view because $avior$elf must be considered as highly average. Hades never were the thrashiest band around and on this album there are a few Alice in Chains-like ballads but mostly we're presented with a dose of steady heavy/power/thrash-metal, The album is drawing similarities to Flotsam and Jetsam, Death Angel and Armored Saint to name a few.

If you like thrash metal with clear and great highpitched vocals you definitely should check Hades out. The highly recognizable Alan Tecchio might be more known for singing with prog-thrash legends Watchtower. On $avior$elf there are a lot of harmonies but the solos are almost nonexistent. In hindsight I will mostly remember this album for Alan Tecchio's great falsetto vocals. $avior$elf is an enjoyable album that deserves a few spins. 

⭐⭐⭐

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HADES - RESIST TO EXIST (1995)

1995, the year that gave us unforgettable thrash classics such as... eeh, well, can't think of any right now but Hades gave us their third album that year. In the middle of grunge rock there were a few bands that tried to release metal and Hades were one such band. I listened a lot to the albums they released around the shifting of the millennium.

I was quite alone in doing that but something about Hades music has always captivated me. For some reasons I never laid my hand on this album until lately. So how grunge-infested is this record? well a bit but not that extremely. Most of the songs on this album was actually written before the summer of 1989 when the band broke up. So you can still fully recognize Hades but when the nineties came it changed everything, even for a band like Hades. Because this album reminds me a bit of Flotsam and Jetsam's third album Suffer the Masses with a small dose of Toxik. Hades also adds a few emotional ballads and the focus is laid too much on the vocals and harmonies and not enough on creating faster riffs. But still lots of slower dreamy Black Sabbath-like riffs has snuck into the mix.

The highlight is of course Alan Tecchio's brilliant falsetto voice, he is one of the most underrated vocalists in metal and the band are extremely good songwriters but perhaps they should have tried to go faster because Resist to Exist suffers from being a bit too mainstream. In the mid- nineties when thrash fans were starving and an album like Hades Resist To Exist was released it was of course an album that you picked up. Today the competition is way more fierce and Resist To Exist doesn't fully reach up to the standard that I'm looking for. But on the other hand this is better than the crap Metallica, Megadeth and Anthrax released in the mid nineties. 

⭐⭐⭐

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HADES - IF AT FIRST YOU DON'T SUCCEED (1988)

If at first you don't succeed was Hades second album,it was released in 1988 by Torrid. This album really has it all, the complex thrash riffing, acoustic parts and Alan Tecchio's earpiercing Joey Belladonna-vocalstyle, he never leaves the high-pitched tones, a great vocalist actually. The New Jersey units sound can be described as a mix between Anthrax, Metal Church, Flotsam and Jetsam and Watchtower, it's really hard to find similar bands to such an original band as Hades. It feels like Hades started to push thrash metal into a new direction but no other band followed up.

They try to do a metal version of Hamlet in the song Aftermath of betrayal (The tragedy of hamlet). This album really impresses me in every way, never boring, very diverse but still very memorable. Songs that displays Hades quality are: "Rebel without a brain", "I too eye" & "Diplomatic Immunity". I could have mentioned many more. It sometimes feels like Hades took up where Anthrax left of but Hades had more instrumental skills. They have acoustic parts in a few songs and that works out very well. almost jazz-like thrash from time to time if that makes any sense at all. Hades where and still is one of the best progressive power/thrash acts. And "If at first you don't succeed" is one of their more important releases. 

⭐⭐⭐⭐

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HADES - IF AT FIRST YOU DON'T SUCCEED (1987) (Review by: Cpt. Tripp)
Hades debut album was released on Torrid Records/Combat in 1987. These guys are originally from New Jersey, USA. I was always a Hades fan from their sophomore release and was very surprised when I heard this album. This is a very technical album as was their second release. I felt this was a better album overall. I caught these guys live once and was equally impressed by their musicianship. As I listen to this album in 2003 I realize how ahead of their time this band was. Songs are well structure and the time changes are phenomenal. Some of the stand outs include Resist Success, Widow's Mite and The Cross, but all the tracks are really good.

These guys are all excellent musicians and diversify their music well.  Allan Tecchio's vocals are very impressive, even though I'm not a big fan of the high octave singing. Another stand out is Tom Coombs who rocks on the drums with excellent fills and double bass work. Scott Le Page and Dan Lorenzo work well together on guitars. Jimmy Schulmann is also very good with the work which he does on the bass. It seems like these guys get a lot of influence from classical music and, of course thrash metal, thus the reason that they are so technical. I have this on tape and am definitely looking to get it on CD for my collection. This is a thrash metal at it's finest and if you are a fan of their second album, If At First You Don't Succeed, I guarantee that you would like this release as well. 

⭐⭐⭐⭐

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HALLOW'S EVE - EVIL NEVER DIES (2005)
Hallow's Eve once a groundbreaking metal band that were signed to Metal Blade. Now 17 years later Hallow's Eve is back with their fourth studio album. Evil Never Dies is a rather unfocused album with a totally unprofessional production. The album sounds more like a demo tape than an actual release and maybe the album should have remained a demo. The vocals are extremely bad and Steve 'Skullator' Shoemaker and Tommy Stewart shares the singing duties on this album.

One has a squeaky voice and the other sounds like the cookie monster and together they sound like some sketch from the Muppets. If they would have erased all the bad death metal growling this album would have been much better. The songs are unfocused and everything about this album is bad except for how they handle their instruments at times. Especially the guitar play shines through this wall of distortion with occasional Iron Maiden-like riffs and it saves the album from getting a worse rating. No there are no traces of the sheer brilliance that once Hallow's Eve delivered with tracks like "Plunging to Megadeath" and "Death and Insanity". When it comes down to it Hallow's Eve's comeback is an extremely disappointing affair. 

⭐

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HALLOW'S EVE - MONUMENT (1988)
On Hallows Eve's final album, Monument, the band changed it up a bit. The songs have more time changes than their first album which I like. The second song stands out from all the rest. They did a cover song by Queen called Sheer Heart Attack. Though it is strange for this type of band to do a Queen song, they manage to pull it off and it gets pretty heavy in the middle. Monument, Speed Freak and Rot Gut stand out as the best of this album. If you listen to the first riff on Monument it sounds a lot like the first riff on The Frayed Ends of Sanity on Metallica's ....And Justice For All.

Monument, however, came out 1 year before. Rot Gut is a heavy, slower song as compared to the rest of the tracks. Overall the riffs on this album are very simplistic, but are crunchy and very heavy and do their jobs well. David Stuart does an excellent job on lead guitar, although I think they have someone else filll in for rhythm on some of the songs. Stacy Anderson does a great job on vocals and his range is phenomenal. This time around the band is only a four piece outfit. I don't know what the hell they were thinking with the cover art, I feel it is a bit cheesy for this genre of music. This is a typical sounding thrash album from the late 80's and really does not break any new ground. However, overall this album is put together real well and is one that you should add to your collection if you run across it. 

⭐⭐⭐⭐

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HALLOW'S EVE - DEATH & INSANITY (1986)

When people talk about Hallows Eve they mostly speak about their debut album "Tales of Terror", people tend to forget about how great "Death & Insanity" was. It was more refined and mature but by '86 this wasn't as dangerous as the works by Dark Angel, Kreator, Slayer and so on when it comes to sheer speed and brutality. The band was now a four-piece as guitarist Skullator left after the debut-album, I guess he is out hunting for He-Man these days. haha

The title-track "Death and Insanity" is so brilliant, it's my favourite Hallows Eve-song. I also like "Goblets of Gore", "D.I.E.  (Death In Effect). At times Death and Insanity is a five-star rated album but then they throw in some tracks that are highly average. I especially like their faster galopping songs that slays everything that comes in their way but this is generally a mid-tempo album. There are lots of memorable choruses on this album that are effectively shouted by Stacy Anderson, I like his voice. He can sing and at the same time be hard and assertive. If they would have taken away 3-4 tracks from this album and made it shorter I would have given it a higher rating because I think Death & Insanity was Hallows Eve's quintessential work. 

⭐⭐⭐⭐

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HALLOW'S EVE - TALES OF TERROR (1985)

When you speak about 80's metal classics the label Metal Blade shows up here and there. With bands like Armored Saint, Lizzy Borden, Flotsam and Jetsam & Slayer amongst others. I would definitely call this a Metal Blade classic. Tales of Terror was a typical release for the year 1985 and Metal Blade. Hallow's Eve has quite much of early eighties heavy metal in it and a bit punk too. Almost like another version of Slayer, but not as intense and evil even if the album cover art is absolutely marvelous.

My favourite tracks are Plunging to Megadeath, There are no rules and Hallow's Eve which has some incredible vocal lines in it. The Vocals by Stacy Anderson is really great, he doesn't have the widest range, but the way he sings suits the music perfect. Hallow's Eve released a classic thrash album in 1985 but today 20 years later it has fallen quite far back in the depths of obscurity.

For those who loved the earlier mentioned Metal Blade bands and their early recordings (around the year 1985) would probably think very highly of Hallows Eve's debut offering.

When I decided what grade this album would get I have to give it the four strong stars mainly because of the very last song "Hallow's Eve" Which is nothing below outstanding...Let me bring you tales of terror, let me bring you the macabre tale of Hallows Eve!!...

⭐⭐⭐⭐

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HARTER ATTACK - HUMAN HELL (1989) (Review by: Mr. Thrash)

Harter Attack recorded Human Hell in february 1989 with the mighty Glenn Evans (Nuclear Assault) as a producer. Glenn where also a member for a while in Harter Attack. Dan Lilker and Glenn Evans even helped Harter Attack to write a song for this album. But does Harter Attack sound like Nuclear Assault then?, no, not really, but some hardcore-influences can be recognized in the music that Nuclear Assault has. Harter Attack plays a shitty, raw and aggressive thrash metal. The music weaves in brutal thrash with some punk and hardcore influences, and some "Motörhead"-rock'n roll. It's full throttle all the time and the vocalist never slows down, he grinds on in the same insane voice position without caring wheter the rest of the band slows down in pace. And sure the music is untight here and there but that doesn't stick in my eyes.

It's hard to draw comparisions to other bands but Harter Attack reminds me of a unconcious blend of At war/Indestroy/Nuclear Assault/Post Mortem/Crumbsuckers. The album is a bit messy and not so easy to listen to, when much of the music seems to be made in a rush. especially the vocals can be difficult to get used to. Harter attack can be brainless raw power that you just find annoying, just to display excellent wellmade thrash in other occations. This album is not for those who like technical melodic thrash, this one is for those who like it raw and fast. Great choice to get out some of your aggressions. The lyrics a are drawn towards political/community and religion critical and they aren't wellwritten. I think that this album has it's moments of joy and I can imagine that people has varied opinions regarding this album. And I have to say that the frontcover on Human hell is so fucking ugly that it is on my top-10 list over the most obnoxious frontcovers ever. A different album, not a must to own but absolutely worth to hear. 

⭐⭐⭐

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HEADHUNTER - A BIZARRE GARDENING ACCIDENT (1992)

When Schmier was fired from Destruction prior to the recordings of 'Cracked Brain' he didn't just sit around and rolled his thumbs instead he started Headhunter with drum legend Jörg Michael (Rage and Mekong Delta) and guitarist Uwe 'Schmuddel' Hoffman (Ex-Talon). Headhunter debuted in 1990 with the Parody of Life album which was rather good and in 1992 their sophomore release A Bizarre Gardening Accident was released. Soundwise it was further steps away from the sound of Destruction. Speaking of Destruction, they suffered heavily when Schmier left the band and their 90's were depressing to say the least, Schmier on the other hand had better luck and ideas. Schmier's Headhunter tried to remain heavy and kept thrashing. Headhunter was softer than Destruction and bordering towards technical heavy metal. Schmier's iconic voice is so associated with thrash so it feels a bit out of place when he gives us his Destruction shrieks.

There's a dose of "Fun Thrash" on this album, the Intro Oh What a Pleasure and the annoying Ramalama cover is beyond terrible, the same goes for the Sex & Drugs & Rock'n Roll-cover but Schmier and friends often did a few questionable covers. I wished this album would have been a little more aggressive, but at times the band brings out some rather fantastic musical moments, just listen to some of Shmuddel's guitar solos or Jörg Michaels precise drumming. but those moments when everything lifts to amazing heights are a little too rare here, Headhunter's musical ideas doesn't marry so well with Schmier's voice. Headhunter was talented band but let's face it Mike Sifringer and Schmier sounded better when they worked together. But for Schmier and Destruction fans you should definitely listen to his post-Destruction career. The original albums were sold out long ago but AFM Records have re-issued Heathunter's back catalogue.  

⭐⭐⭐

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HEADHUNTER - PARODY OF LIFE (1990) (Review by: Per-Ola Nilsson)
As we all know singer and bass player Schmier left Destruction during the recordings of "Cracked Brain". He thereafter formed Headhunter together with workaholic drummer Jörg Michael (Running Wild, Grave Digger, Rage and Stratovarius among others), and released "Parody of Life" in 1990.

Headhunter is not as all out thrashy as Destruction and instead tries out a more melodic approach at times.

The songs are fast in general though, and the sound is raw and crunchy, so we are talking about thrash metal here. I have never been any fan of Schmiers voice and enjoyed Destruction rather for the good material and the innovative riffing of Mike Sifringer. Here there is no Sifringer, so Headhunter has never been more than OK  to me.

The album is quite good though. A package of solid songs, among which the title track and "Cursed" are the strongest. I guess the main reason to check out Headhunter is if you would be a hardcore-fan of Destruction and Schmier. But, as I said, "Parody of Life" is an OK album, so it's not a waste of money either way.  

⭐⭐⭐

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HEATHEN - THE EVOLUTION OF CHAOS (2009)

After an eighteen year long break Heathen got their shit together again and released their third album called The evolution of chaos. Their first two albums are remembered as classics in the genre so Heathen had a lot to live up to. And Heathen delivers, that's for sure. Stylewise this is a continuation of their album Victims of Deception. The production is a bit more modern without being too overproduced.

David White's vocals are a bit lower than what they were twenty years ago, unfortunately there are less falsetto screams on this album. But what it lacks in that department it compensates in another. The guitars, this album is a riffmonster. many rhytmic riffs and overall highly skillful musicians. The Evolution of Chaos was also the last album bass player Jon Torres was involved in before passing away. May he rest in peace.

In my opinion The Evolution of Chaos is a great comeback album, No doubt about it. 

⭐⭐⭐⭐

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HEATHEN - VICTIMS OF DECEPTION (1991)
After a huge success with their debut, Heathen experimented with lineup changes both Paul Baloff of Exodus and David Wayne of Metal Church tried out for Heathen, but it just didn't work out and David Godfrey White was asked to rejoin Heathen and that was a wise decision. His vocal skills takes Heathen to new heights where only a few thrash bands have been before. However the bassist Mike Jastremski were kicked out and in came Marc Biedermann from Blind Illusion. But he never got any credit for it in the booklet. Victims of deception also includes a guest appearence by the Anvil Chorus axeman Thaen Rasmussen on the song "Guitarmony".

Heathen included once again a cover, this time it's Rainbows "Kill the king", and Heathen are truly a superb coverband, all songs they do covers of improves the originals. The guitarplay is Heathen's strong side, amazingly tight, fast and yet melodic. And I love David Godfrey White's vocals, they are highpitched and clear. He hasn't the widest range, but he is a vocal god on the higher octaves. Memorable songs on Victims of deception are: "Opiate of the masses", "Heathen's song" & the Rainbow cover "Kill the king". Victims of deception might not be as essential as their debut "Breaking the silence", but this album is one of the best thrash metal albums of 1991.  

⭐⭐⭐⭐⭐

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HEATHEN - BREAKING THE SILENCE (1987)
The classic San Francisco thrashers Heathen debuted in 1987 with Breaking The Silence. Stylewise it was not so far away from neighbours Forbidden (First two albums) in style, a bit more melodic, almost some  type of technical power metal at times. I can't help but think of the german power metal legends Helloween's debutalbum "Walls of Jericho", this sounds like a chunkier and more technical version of that album add to that a dose of early Testament and you'll know what this is all about.

Heathen's vocalist Dave Godfrey has a high-pitched style, a talented vocalist. Heathen  was in the second wave of thrash metal that arrived in the late eighties and Breaking the Silence is deservingly considered a classic in the genre. My favourite tracks on this album has to be "Death by hanging", "Open the grave" and "Breaking the silence", it's high-class thrash right through, no slopes at all, the song "Set me free" is a Sweet cover. Incredible tight musicianship and top-of the line guitar-soloing all over. They might not have been as famous as Testament & Forbidden, but they sure was as talented. A classic album that all fans of melodic thrash must own. 

⭐⭐⭐⭐⭐

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HEAVY LOAD - MONSTERS OF THE NIGHT (1985)

In the middle of the eighties werewolves were trending in movies and music. Many rock bands at the time had huge hits by mixing rather non-scary horror elements to the beat of glossy superficial Synthesizers.

The cheesy intro to "Monsters of the Night" reeks so bad that you expect Michael Jackson to bust out his zombie gear about half way through it.

To be fair, I have no clue wheter Heavy Load took inspirations from "Thriller" by Michael Jackson or "Bark at the Moon" by Ozzy or not but this is not the good 'ol Heavy Load that we all came to love.

The track Monsters of the Night is actually the worst track the band ever wrote. It's a cheesy party rock anthem in the vein of "Man Behind the Mask" by Alice Cooper. Even if the single itself is rather mediocre the Side B track I'm Alive offers some satisfaction. This up-tempo rocker sounds a little a lighter version of Black Sabbath's "Neon Knights". The vocals and guitars are a bit uninspiring though, They're not as confident as they once were on Death or Glory or Metal Conquest.

Sadly this was the last time we heard from Heavy Load before the Wahlquist brothers buried themselves in work at their Thunderload studio instead of focusing on their own career.

At least Monsters of the Night helped me understand this werewolf-thing. After listening to Monsters of the Night, I also wanna rip my ears off.

⭐⭐

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HEAVY LOAD - STRONGER THAN EVIL (1983)
Stronger Than Evil is the moment where Heavy Load fully crystallized their identity. A blend of Viking‑tinged imagery, raw heavy metal grit and a uniquely Scandinavian sense of melancholy. Compared to the rougher edges of Death or Glory, this album feels more focused and confident, with sharper songwriting and a bigger emphasis on anthemic choruses.

The Wahlquist brothers deliver some of their strongest performances here. Ragne’s guitar tone is icy but melodic, and Styrbjörn’s drumming gives the songs a rugged, almost marching quality. The production is still unmistakably underground, but it works in the band’s favor, giving the record an atmosphere that sets it apart from the more polished metal coming out of the UK and US at the time. Kind of like a viking version of Thin Lizzy.

Speaking of Thin Lizzy. Phil Lynott played the bass on the song "Free". Also noteworthy are “Run With the Devil" and “Stronger Than Evil" that showcased the band’s knack for anthemic choruses and driving riffs, while “Saturday Night” and “Dreaming” reveal a more melodic, emotional side without losing the band’s trademark grit. There’s a sense of earnestness throughout. Heavy Load never sound like they’re chasing trends. Instead they forget their own path with the viking themes, long before 'Viking Metal' was a genre of it's own. 

In hindsight, Stronger Than Evil stands as one of the defining statements of early Scandinavian heavy metal. It’s raw, passionate and unmistakably it's own unique thing. The band pushed beyond their own limitations and created something that still feels powerful decades later.

⭐⭐⭐⭐⭐

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HEAVY LOAD - DEATH OR GLORY (1982)

After the Metal Conquest EP in 1981, Heavy Load entered the Decibel Studios in the summer of '82 and recorded the Death or Glory LP. Once again the artwork was painted by Johan Holm, whom helped create the Viking image the band adopted long before Manowar and Bathory even thought of the idea.

The Death or Glory LP starts with the song Heavy Metal Angels, which is the perfect metal song. The razor-sharp intro riffs are so heavy that Tony Iommi would have been afraid if he ever heard them. Add to that the layered backing vocals, the moody guitar leads and the anthemic verse "Heavy Metal Angels, In Denim and Leather". But it doesn't end there. Put on "The guitar is my sword" and you'll get more of the same masculine heaviness, But the album is not just heavy, the grade of melancholy and the harmonized vocals makes this one of the best heavy metal LP's of 1982, not just in Sweden but also in an international context. 

The Wahlquist brothers shared the vocal duties with guitarist Eddy Malm, which was quite unusual for a heavy metal band at the time. I need to mention the track Trespasser too, a speedy track that reminds me a bit of Anvil's proto-thrash, except for the vocals.

Compared to the Metal Conquest EP, Death or Glory feels like a more polished product. But it's not as easy accessible as their 1983 release Stronger Than Evil.

Death or Glory was perhaps no "The Number of the Beast" or "Screaming For Vengeance" in terms of hit potential. But for me personally there is much more longevity to Heavy Load's Death or Glory.

⭐⭐⭐⭐⭐

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HEAVY LOAD - METAL CONQUEST (1981) (Review by: Immerstahl)
“Heathens from the North, coming to take it all”, to quote Heavy Load. I couldn’t agree more. I think that Heavy Load have always been the flagship for Swedish Epic Heavy Metal, and even in some cases the whole World. And their second record, in the order, proves it. “Metal Conquest” is a pure Swedish Metal masterpiece, all of the tracks are dead on!

It starts with “You´ve got the Power” a superb song with a strong chorus, and the raw vocals of Ragne Wahlquist makes it real powerful. It’s continuing with an bit slower piece “Dark Nights”, a strong song with very good lyrics, and the combining smooth and raw vocals of Eddie Malm is just great! I think that this is the best song on this record. Heavy Load most be one of most comprehensive band, as they have three very good singers, even the drummer Styrbjörn Wahlquist. Who sings on the next track “Heavy Metal Heaven”, a song who will leave a mark on anyone, the riffs, the heaviness and the catchy chorus is all there!

Flip the plastic, and turn the side. The B-side starts with “Hey” a pretty happy tune, with a bit weird lyrics. But it doesn’t matter, because it is a damn good song. And now for the ending song “Heathens from the North”, a real Heavy steamroller for a song! Pure Swedish rawness with attitude. The Chorus says it all (which I quoted in the beginning of the review)!

“Metal Conquest”, sits like a dagger in your flesh! And if you don´t have it in your collection, you shall feel ashamed.

⭐⭐⭐⭐⭐

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HEAVY LOAD - FULL SPEED AT HIGH LEVEL (1978)

This is where the story begins. The story of Swedish metal in general and Heavy Load in particular. In my opinion "Full Speed at High Level" was the very first heavy metal LP hailing from Sweden. Stylistically it was similar to what Judas Priest did on Stained Class and Sin After Sin. But Heavy Load's fate was quite different. Judas Priest became huge stars in the heavy metal genre and Heavy Load fell deep into obscurity. Somehow their importance was forgotten over time, even if there has been a smaller revival in more recent years.

Full Speed at High Level was faster and heavier than what bands like Neon Rose and November delivered in the seventies. At the same time, this LP is quite different compared to the other albums in Heavy Load's remarkable catalogue.

Full Speed at high level was released before Torbjörn Ragnesjö and Eddy Malm joined Heavy Load. This meant that the band hadn't adopted the rougher sound and the Viking imagery that they later became known for. Sure there was a little hint of it in the song Son of the Northern Light but in my mind they hadn't fully found their style yet.

The innocent and more hard rocking sound of the seventies had it's charm but I definitely prefer Heavy Loads more metallic era. The vocals performed by Ragne Wahlquist is a bit weak and childish at times.

The positive is the great guitarplay by the same Ragne. The album is very varied from the driving Judas Priest-like "Full speed at high level" to the sad and melodic "Caroline".

Even if Heavy Load's best material was ahead of them, "Full Speed at High level" is a legendary album, definitely worth picking up if you ever come across a copy.

⭐⭐⭐⭐

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HELLER - HELLER (1989)
Heller from former Yugoslavia, now Serbia was a band that emerged released one album and then disappeared without people even noticing. But thanks to the collector circles and the internet the reputation of their old album still lives on. The album itself is almost impossible to find on vinyl, but since it has been all over the internet lately you can find a digital copy somewhere. Heller's selftitled album ranges from dark and evil heavy metal to a raw and primitive punkish thrash metal-sound that brings your thoughts to early Sodom. The band has stated that they were inspired by Venom but I don't think that Heller was just another Venom or Sodom replica.

They still have a very unique sound. Maybe it was that slavic accent that Zmegi has that set them apart from your typical thrash metal band or that the frames of what a band could and should do wasn't established back then. Because you very seldom hear a band that ranges so much in their material. Compared to what was going on in Germany and San Francisco at the time this album feels much more dated. Like it was recorded five years earlier or so, which some may prefer and other's like the more refined and technical thrash metal sound. Heller had a hard time back in the days first due to cencorship and then the Yugoslavian war broke out. But after twenty years of silence the band is back together again and they have started gigging together and a second album is in the planning stages. But whatever happens Heller's selftitled debut will be one of the pearls of the Ex-Yugoslavian metal scene.  

⭐⭐⭐⭐

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HELLHAMMER - APOCALYPTIC RAIDS (1984)
Hellhammer was a band that emerged and recorded one EP and then disbanded but still they are remembered as legends in all genres of extreme metal. Hellhammer was a Swiss act that remarkably made a name for themselves that never will be erased out from the history books of metal music. Hellhammer was namely one of the originators of thrash, black & death metal, but they would perhaps be forgotten today if it wasn't for Tom G. Warrior and Martin Ain regrouped and formed Celtic Frost in Hellhammer's ashes.

Hellhammer wasn't that far away in sound and style from the sound of early Celtic Frost either, perhaps a bit more amateurish and borrowing a lot from Venom's early days. The best ideas from Hellhammer is exactly what Tom and Martin took with them. Apocalyptic Raids almost sounds like hardcore if you take away the vocals. It's very simplistic and so raw. The album  is filled with moans and desperate cries. And the whole sound is so downtuned that you just can't listen to it if you are afraid of the dark, pure Evil stuff. It's sad to hear that most people call this a an amateurish affair, but I just can't help that I'm charmed by Hellhammer's groundbreaking approach, only a handful bands where as early as Hellhammer with playing frenetic and dark music, like Bathory, Sodom, Destruction, Slayer and Venom. Advanced or not, Hellhammer wrote a new chapter in music and they shall be hailed as one of the fathers of the genre, Cause they were leaders not followers.  

⭐⭐⭐⭐

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HELLOWEEN - WALLS OF JERICHO (1985)
Walls of Jericho is the debut album of the power metal giants Helloween. It was released in 1985 and it took the metal scene in Germany by storm. It was fast as hell, raw and Helloween had everything a band could wish for. This album is a bit different than their later and perhaps more known catalogue.

On Walls of Jericho speed is everything. The melodic up-tempo happy and catchy songs with stupid lyrics are nowhere to be seen for a few years. Their sound was not so far away from Bay Area-thrashers Heathen's debut Breaking the silence. Maybe a bit more raw and straightforward and less technical. The era with Kai Hansen at the vocals are without a doubt my favourite Helloween-era. Maybe he wasn't their best vocalist but he has a great falsetto and Helloween's music was so raw and fast in the beginning. It's Iron Maiden on crack. The song Ride the sky is insane. A monster track and Helloween's best song of all time if you ask me, it's just a remarkable effort. Heavy Metal (Is the law) ain't exactly bad either. It will definitely tear all posers apart. Walls of Jericho is a landmark when it comes to speed metal. No doubt about it.  

⭐⭐⭐⭐⭐

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HELLOWEEN - HELLOWEEN (1985)

After appearing on two compilations it was time for Helloween to enter the scene for real. In 1985 they released a five track EP. A few people might wonder why the hell there's a Helloween-review amongst all those thrash metal albums.

It's because when Helloween started out they played somewhere in the region between speed and power metal. Not so far away from how bay area-thrashers Heathen sound on their debut Breaking the silence.

I love the song Victim of Fate starts out as a regular speed metal song but suddenly slows down into a more sinister almost Venom-like evil where Kai Hansen screams that you will burn in hell, Quite far off from where Helloween is today.

Kai Hansen's immature Halford-like voice suits Helloweens speed/power metal just perfect. This was before Michael Kiske took over the microphone and Helloween evolved into a more melodic power metal band. But from a thrash and speed metal perspective this selftitled EP and their Wall of Jericho-album is what compells me the most in their catalogue. 

⭐⭐⭐⭐⭐

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HELSTAR - NOSFERATU (1989)

Helstar's fourth album ended their classic period that lasted from 1984 to 1989. During these years the misunderstood Helstar delivered some truly great metal without fully getting the attention they deserved. If the lack of recognition wasn't enough for Helstar, their label Metal Blade records had the nerve to drop Helstar after the release of this epic rendition of the Nosferatu-tale. So things went south soon therafter. But let's all focus on Nosferatu for a while. The album has a darker and more somber tone than previous Helstar releases, but at the same time Helstar plays faster than ever before and the technical skills the band shows here belongs to a band that are on top of their craft.

Especially the guitar duo André Corbin and Larry Barragan is in the driving seat here. With an almost neo-classical melodic delivery over a wall of ripping speed metal. You'll soon be aware that Nosferatu is something special. It's often considered to be Helstar's crowning achievement and who am I to disagree. The vocals by James Rivera is in the more traditional metal mold and his emotional delivery brings some depth to the album. But the drums on Nosferatu is a bit undeveloped. Especially when most of the band's focus seems to be on the intricate work of the guitar duo Corbin & Barragan.

Nosferatu was released during a time where thrash metal was at it's peak and bands like Kreator, Slayer or even Metallica was pushing a harder sound. At the same time you had bands that stood steadily with a more traditional metal sound and Helstar came along with their quite unique sound that walked the line right in between. Helstar was not fully accepted as a thrash band and at the same time they delivered their technical metal faster than any traditional heavy metal band. Maybe that was Helstar's downfall. They weren't lumped in together with the hottest bands at the time and they became some type of outsider. Even if they had a few similarities with bands like Liege Lord, Vicious Rumours, Omen, Metal Church, Heathen and Agent Steel. My favourite tracks from the album must be Baptized in Blood and the Flotsam and Jetsam-esque The curse has passed away. Thrash or not, Nosferatu is a brilliant metal album.  

⭐⭐⭐⭐

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HERETIC - BREAKING POINT (1988)
After appearing on the Metal Blade's Massacre Vol. 7 compilation and the "Torture knows no boundaries" EP, Heretic was ready to release their full-length debut album Breaking Point. Vocalist Mike Howe had recently joined the band and in retrospect Heretic became most known for being the band that helped Mike Howe spawn his career. Mike later joined Metal Church. Ironically the rest of the band would later regroup with David Wayne of Metal Church and form Reverend. But enough of the history lesson. On Breaking Point, Mike Howe is in focus and he has the ability to convey so much emotion through his vocals, whether it be anger, frustration or sadness. Mike is definitely one of the best vocalists of all time. Heretic does a well job mixing fast paced thrashing anthems with mid-paced numbers. Heretic delivers what you might expect, an album somewhere in the Metal Church region. Maybe a bit more raw and straight forward. The album was produced by Metal Blade Records mastermind Bill Metoyer and it was co-produced by Kurt Vanderhoof of aforementioned Metal Church. So the ties between the bands are numerous. Fans of power / thrash in general and Metal Church in particular need to get their hands on a copy of Breaking Point by Heretic. 

⭐⭐⭐⭐

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HEXENHAUS - DEJAVOODOO (1997)

After 1991's Awakening Album guitarist Mike Wead more or less left Hexenhaus to pursue his dreams, first with King Diamond and later Mercyful Fate. But in 1997 the Awakening line-up got back together again for one last(?) album, Dejavoodoo. The band has also left the Active label to join Black Mark Productions, a label that also had Bathory in their ranks. In 1997 in Sweden thrash metal was completely dead. Most metal fans I came in contact with had hardly ever heard of the term thrash. People liked the modern gothenburg sound, death metal or old school metal like Metallica and Iron Maiden. So it's quite impressive that Hexenhaus got together for one last release even if the fans were long gone.

It was six years since their last release so you might expect this to be some post-thrash groove metal-sounds but that's not the case. The album is pure metal, no modern ideas are implemented here. The first thing that strikes me about this album is the crispy and perfectly clear production, it's about as perfect as it can be. Hexenhaus sounds like a mix between Candlemass, Annihilator and King Diamond. The vocal patterns and heaviness from Candlemass, the tight and technical guitarplay from Annihilator and the eerie melodies and the song structures from King Diamond.

The songs are quite long and technical, it's technical brilliance over straight forward metal mayhem here. But the guitarplay on this album is what is the most impressive. It's as good as it get's in this genre. Dejavoodoo was the best scandinavian thrash metal album of 1997, no doubt about it. But the album lacks some of the aggressiveness from their earlier records. I'll give Dejavoodoo 3 out of five. 

⭐⭐⭐

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HEXENHAUS - AWAKENING (1991)
Hexenhaus seem to have difficulty retaining their vocalists as it is their third singer in as many albums. Thomas 'Lyon' Lundin handles the microphone on their third album Awakening from 1991. He has a voice of a typical heavy metal vocalist. Clean vocals and with occasional falsetto vibratoes. If you have heard the band before you know what you are up for. Some technical typical Scandinavian thrash metal. As usual Hexenhaus strong side is Mike Wead's (King Diamond & Mercyful Fate) excellent guitar play, both the haunting rhythm and the exploding lead guitars are top notch.

It's definitely recognizable if you're familiar with those two bands. I also get some strange Candlemass vibes when listening to this album. I think this is how their labelmates Candlemass would have sounded if they played thrash metal. Hexenhaus worked hard in the underground but no one seems to notice them as they still are quite unknown in Sweden. Even if they were the most productive Swedish thrash metal band at the time and definitely one of the best. So how strong is Hexenhaus third album, I must say that their albums are all in a similar quality, somewhere above the average thrash metal release. In later years I have really come to appreciate more technical thrash metal and Hexenhaus and Artillery are the two best Scandinavian bands at that style. 

⭐⭐⭐⭐

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HEXENHAUS - THE EDGE OF ETERNITY (1990)

After Hexenhaus excellent debut album vocalist Nicklas Johansson left and soon after the rest of the members followed. But Mike Wead decided to keep the band going even if he wasn't even in the band when they formed and took the name Hexenhaus. So Mike Wead teamed up with Agrippa, Billerhag, Marteen and Nicosia and Hexenhaus was reborn. The album is driven by Mike Wead's excellent galopping style with some quirky melodies.

It's technical thrash metal with some power and progressive elements. Quite typical for what the Swedish thrash scene had to offer in style and sound. More leaning towards the Bay Area-styled thrash compared to the typical German sound. The album sounds like a mix between Metallica's Kill 'em all, late eighties Artillery and early Metal Church. The Edge of Eternity is a great album but it's not perfect. The vocals are a bit weak and the production is not the thickest. But on "The Edge of Eternity" Hexenhaus established themselves as a top metal act in Sweden and they deserve more attention than what they've got during all these years. Mike Wead would later join Mercyful Fate and King Diamond and you can definitely hear some resemblence to the music Mike made together with King Diamond. If you're looking for some great Scandinavian thrash you should definitely check out Hexenhaus. 

⭐⭐⭐

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HEXENHAUS - A TRIBUTE TO INSANITY (1988)

A Tribute to Insanity was Hexenhaus debut album and it was one of the very first thrash metal releases from Sweden. Hexenhaus was formed in the ashes of the fathers of Swedish speed and thrash metal Maninnya Blade.

Hexenhaus was also one of the better thrash bands that hailed from the land of the Vikings & Ikea. Hexenhaus was a technical band, mainly because of Mike Wead's excellent guitarplay. He later joined both Mercyful Fate and King Diamond so you can expect some great riffs here.

The album A Tribute to Insanity is pure thrash metal, slightly more technical than the average band. The album has a standard production and the vocals are a bit boring at times. My favourite tracks on this record is Eaten alive and the ten minute long epic thrash metal anthem As Darkness Falls. You might recognize the artwork, It's a painting by Jean Delville called  "Les Trésors de Satan". Morbid Angel later used the same painting for their Blessed are the Sick-album. But Hexenhaus was first to use it. If you're interested in Swedish thrash I suggest you go for Agony, Mezzrow or Hexenhaus, it's good thrash, nothing that turns your world upside down but it's definitely good stuff. 

⭐⭐⭐⭐

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HEXX - QUEST FOR SANITY (1989)

After two full-length studio albums and five or six years as a band Hexx decided to leave their power metal ways behind and go for a more extreme sound. On Quest For Sanity, Hexx delivers some truly aggressive thrash, bordering on death metal. Probably heavily inspired by the Bay Area thrash scene and perhaps even Possessed.  Soundwise Hexx reminds me a bit of Exodus circa Bonded By Blood. But not as good song writers. But the brutality, speed and the low budget production is all in place and Clint Bower has an extreme voice that are easy to fall for, and who can resist his extreme falsetto screams? Not me....

I interviewed the band and they said that they took this direction due to changes in the lineup and the new members wanted to go in a more extreme direction. In fact, only bassist Bill Peterson and guitarist Dan Watson remains since the band released Under the Spell two years earlier. The band went even more extreme on their last EP and full-length before disbanding in the early nineties. Hexx were respected around the Bay Area in the eighties and they gigged with many of the great local bands in the Bay Area but the fact that each album sound so different might be the reason why not Hexx are thought of as highly as some of the other thrash bands from the area. The band definitely had potential and times Quest For Sanity is a pleasant listening but the lousy low budget production didn't help the cause. Musicwise the band peaked with their first two albums but I can't help to like the charm and the sound that Hexx created even if they most of the time were nothing but semi competent Exodus or Slayer replicas. 

⭐⭐⭐

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HIRAX - THE NEW AGE OF TERROR (2004)

I remembered seeing Hirax live during their tour to promote this comeback-LP The New Age of Terror, we where just a handful of people there but Hirax delivered a show that I would never forget about. Anyways, Hirax had a few EP's released before "The New Age of Terror" came out but I consider this their proper comeback. Hirax was a quite anonymous band in the underground circles in the early 2000's. Even if they released two classic thrash metal albums back in the eighties. But over the last decade they have certainly shown the thrash metal community that they deserve the recognition.

The only member left in the band since the glory days is the intense frontman Katon DePena. But that's all you need really. The band's new sound is a bit different than the early days. Hirax has developed into a more regular thrash metal band and the crossover style is dropped. I actually prefer this more metallic sound that the new Hirax shows. The trademark for Hirax sound is still Katon's unique and powerful voice, It's kind of nasal but aggressive at the same time. To summarize "The New Age of Terror" I will say that it is one of the best comeback albums and it is one of the best thrash metal albums to come out lately. In this new age of thrash and terror, Hirax is certainly a band to follow closely. 

⭐⭐⭐⭐

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HIRAX - HATE, FEAR AND POWER (1986)

The classic Californian thrash band Hirax second release was named "Hate, fear and power", it was released back in 1986, it was their last album out of two, until the comeback of course. Hirax early albums were groundbreaking and quite iconic, they gained a minor cult-status, and they were one of Metal Blade's earliest signings. Intense thrash similar to countless other bands on the west-coast, bit still unique in their own way like a mix of speed, thrash and crossover antics.

Vocalist Katon W. DePena has a atonal high-pitched vocalstyle, Hirax sound at this time was not that far away from what New Yorker's Nuclear Assault was doing at the time. The drummer stops playing now and then to leave the guitar and bass on their own for a short while before bursting out some fine and intense thrash. The album is only 16 minutes long, so it's short and sweet. This is still an underground classic even if I'm not the biggest fan of Hate, Fear and Power by Hirax. It's a bit too short and not as focused as their debut. But "Hate, Fear and  Power" is still something look out for.  

⭐⭐⭐

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HIRAX - RAGING VIOLENCE (1985)

You, you will go down, down to the demons

And when you get there, you'll... you'll be in Hell

The album starts out with those evil lines and at first glance you might think that this is some type of Venom-inspired band but that's really not the case here. California based Hirax delivers something quite unique here on their debut-LP titled "Raging Violence", which was released in late 1985 on Metal Blade Records. When it came out it was quite groundbreaking, Their sound was fast and intense with Katon DePena's characteristic soaring vocals. Quite similar to the style that Nuclear Assault would later adopt or perhaps with a smaller dose of D.R.I..

The songs on "Raging Violence" are short like your typical hardcore band of the era. There are fourteen songs which Hirax blasts in about half an hour. "Raging Violence" contains the following classics; "Demon Forces", "Bombs of Death" & "Raging Violence". Although some may dislike the production of this album I think it's kind of charming in it's rough mid 80's mix. But the bass is a turned a bit low. The drumming is strong and the guitar riffs are fast, great and it never gets dull and repetitive.

The riffs are ranging from power metal to hardcore punk to brutal thrash. Sometimes during the speedy sections the riffs almost melt together because they’re delivered with such a furious tempo! In conclusion, 'Raging Violence' are amongst the better releases of 1985. Especially if youre into real fast and semi-punkish stuff. 

⭐⭐⭐⭐

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HOBBS ANGEL OF DEATH - HEAVEN BLED (2016)

Three decades ago, Peter Hobbs emerged from Down Under with a savage blast of what he called ‘Virgin Metal’. Now, three decades later we stand here with the first Hobbs' Angel of Death-album since 1995's rather anonymous Inheritance. The band is still led by their iconic frontman Peter Hobbs. This time Peter has brought in Swedish black metal guitarist Simon Wizén (Valkyrja) and two italians in bassist Alessio Medici and drummer Iago Bruchi. Bruchi and Medici are known for being one half of Violentor, an Italian new wave thrash metal band.

Back in the day Hobbs' Angel of Death was seen as Australia's answer to Slayer and the band was at times criticized for replicating their sound. But that's not really the case here. The reborn Hobbs Angel of Death lends ideas from all kinds of extreme metal.

At times you'll get some melodic and dark heavy metal that sounds inspired by King Diamond and on other tracks you'll get some blackened death / thrash brutality, especially the drums ventures further into extremes than what we are used to get from these Aussie legends. I think the reborn Hobbs' Angel of Death is not just a nod to the old school, the instrumentation feels tight and up to date with those streaming guitars and clickingly tight drums. The album is varied in tempo and the band even throws in some melody at times without ever losing any heaviness. I also like Peter Hobbs way of singing, He sounds a bit like a poor man's Tom Araya, but in a good way, Peter doesn't try to sound modern and that's a good thing.

You shouldn't listen to Heaven Bled just for nostalgic reasons, this release offers some well produced and sleek thrash that are up there with the top acts in the genre. Heaven Bled feels remarkably vital and impressive and I think that it is one of best comebacks I've heard in a long, long time. I'm thrilled to welcome Peter Hobbs and his newfound angels back.  

⭐⭐⭐⭐

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HOBBS ANGEL OF DEATH - HOBBS ANGEL OF DEATH (1988)

If Mortal Sin was Australia's answer to Metallica then Hobbs Angel of Death would be their answer to Slayer. The band was formed by Peter Hobbs as a solo-project and this self-titled debut was for many years the only release by the band, at least until 1995 but then the hype was already over.

But still the album is a major player on the Australian metal scene a pioneering album in a nation that hardly had any thrash metal prior to bands such as Mortal Sin and Hobbs Angel of Death. Peter Hobbs himself named their style Virgin Metal but really this is some evil and darkened thrash metal we're dealing with here, with a strong resemblence to Slayer around Show No Mercy and Hell Awaits, with smaller doses of Celtic Frost, Piledriver, Venom and Infernäl Mäjesty. The songs are fast and ripping in a Slayer-styled fashion but a track like Marie Antoinette brings some harmonies.

Hobbs Angel of Death are really talented musicians, the drumming is tight and the lead guitars are rather impressive add to that commanding vocals by main man Peter Hobbs. If I should complain about something is that the riffs on this album aren't as memorable as those early Slayer discs to keep the comparison going and maybe the songs are a bit too similar in style, but that isn't a huge problem since this is the purest and dirtiest form of thrash.
Hobbs Angel of Death's debut is one of the best and most important metal albums out of Australia, period!  

⭐⭐⭐⭐

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HOLY MOSES - FINISHED WITH THE DOGS (1987)

After the first faltering steps of Holy Moses career I didn't expect that much even if their debut (Queen of Siam) was an average album, Finished with the dogs is a way more complete product. It's faster, better songwriting, better production, just about everything has been taken up a notch since their debut-LP. "Finished with the dogs" is a typical german album, it's noisy, gritty and violent. Holy Moses might be most known for Sabina Classen's vocals. Yes, female-fronted thrash, so is this some type of girly variation of thrash? nope, she sounds more violent and guttural than most men in the business.

But I'm not the biggest fan of her vocals, they feel a bit forced, I think. But she does a better job on this album as well. Guitarist Andy Classen has also taken his versatile guitarplay to another level, it's fast and often focuses on some e-string rhythms. Maybe there is a little bit of Metallica - Kill 'Em All in this record, but with a completely different vocalist. If you should listen to one song on this album it is "Current of Death", it's blistering fast and it will rip your ears right off. Definitely on par with the best german thrash songs of all time. Even if I'm not completely familiar with their whole catalogue, I think that Finished with the dogs is Holy Moses best effort. Most people seems to agree with that statement. 

⭐⭐⭐⭐⭐

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HOLY MOSES - QUEEN OF SIAM (1986)

After a dozen of groundbreaking demotapes Holy Moses finally released their first full length-album in 1986. Somehow Holy Moses ended up in the shadows of the three big German bands (Kreator, Destruction and Sodom). 

Maybe it was the late debut that somewhat postponed their the early hype they made in the underground scene.

Sabina Classen one of the few notable female vocalists in the genre and she was married to the bands guitarist Andy Classen. Sabina has a voice that can crush bricks, it's guttural and almost as extreme as a female vocalist can be. Sounding a bit like Plasmatics vocalist Wendy O' Williams on speed.

At times Holy Moses debut drew's some similarities to early Bathory and Venom. But Holy Moses was more melodic. A sound that was similar to what german neighbours Destruction had at the time. Blunt, brute crunching mid-tempo thrash with occasional short Destruction-like riffs. Over the years Holy Moses would develop into a more extreme metal band but on this debut Holy Moses displays some classic mid 80's thrash metal of a good standard. 

⭐⭐⭐

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HOLY TERROR - MIND WARS (1988)

Prior to forming Holy Terror guitarist Kurt Kilfelt (then Colfelt) was in the band Agent Steel where he wrote the song Back to Reign. He took the song with him and Holy Terror recorded the song as Debt of Pain, essentially the same song but with different lyrics.

Holy Terror mixes the best parts of the US power metal scene (Bands like Manilla Road, Jag Panzer, Liege Lord & Helstar) with the fast and almost punky thrash sound. On Mind Wars Holy Terror has grown and become somewhat more technical. The guitars by Kilfelt and Alvord are absolutely dense and ripping. The Kilfelt / Alvord duo keeps churning out quality riffs one after another, like there is no tomorrow. Keith Deen's voice and style is very varied, he can sing with a deep tone and in the next moment shout out the vocals like a ferocious punk kid. He even throws in some great falsetto screams to mix things up. Mind Wars is an often undiscovered thrash/speed classic that still wows fans of those closely-knit genres hearing it for the first time today. As far as I’m concerned, Mind Wars is one of the most underrated thrash metal albums of all time. 

⭐⭐⭐⭐⭐

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HOLY TERROR - TERROR AND SUBMISSION (1987)

Kurt Kilfelt left Agent Steel after their legendary debut (Skeptics Apocalypse) and started a new band called Holy Terror. This is Holy Terror's first album out of two. There's definitely some Agent Steel-vibes going on here. especially Kurt Kilfelt's guitarplay. Keith Deen's vocals are of the more typical thrash metal style though. Fans of Canada's Razor would love Holy Terror's frenetic thrash. Fans of Megadeth's debut (Killing is my business...) must go and check this album out. The only negative I can say about Terror and Submission is that it's a bit rough and underproduced. But on the other hand everything else rocks your socks right off! The guitars are blazing, heavy and even melodic at times. The drums are hammering and the bass is audible and intimidating. Keith Deen's vocals is versatile and unique, he can shout, sing, do falsettos, scream, bark and it all sounds great.

Those who are looking for the best underground speed/thrash that the United states has to offer, look no further. Terror and Submission are one of those "forgotten" classics. 

⭐⭐⭐⭐

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HYDRA VEIN - RATHER DEATH THAN FALSE OF FAITH (1987)
Hydra Vein from Brighton, UK was a thrash metal band who surfaced shortly when thrash metal was at it's peak. "Rather Death Than False of Faith" was their first out of two records, their second was titled "After the dream". Hydra Vein brought us some Slayer-esque british thrash metal. Dark, menacing and gritty. There are several ties to UK thrashers Deathwish here as the Maddison brothers used to play with Deathwish before they got signed. another tie is that Hydra Vein's guitarist Dan Ranger and Deathwish's Stuart Ranger are brothers.

Hydra Vein sounds like their countrymen in Sabbat at times. Mike Keen's vocals are also venomous and straightforward. Hydra Vein was one of the more extreme british thrash bands at the time together with Onslaught and aforementioned Sabbat. Rather Death Than False of Faith is actually a pretty strong album, it's intense with ferocious vocals. Songs like "Rabid" and "Rather dead than false of faith" are frenetic and violent thrashers of the highest class. But the album seriously lacks production which drags down the rating a bit. Some call Hydra Vein Sabbat's little brother, which is a bit unfair. Hydra Vein had a lot to offer but the lousy production and an artwork in pink didn't help their cause. 

⭐⭐⭐⭐

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HYPNOSIA - EXTREME HATRED (2000) (Review by: Aaron DiDonato)

In my opinion, this is the best thrash metal album of the 1990s, and there hasn’t been a better thrash band since Hypnosia. Very much in the vein of Kreator (mainly due to the almost identical singing). Not one dud on the whole album, it starts off with an upbeat yet pissed-off sounding intro in the first song, and when it picks up you can feel the intensity. The first four tracks keep the intensity up. The fifth track, “Comatose”, is more mid-paced, but loses no heaviness. The end of it picks up, and the sixth track, “Act of Lunacy”, picks the pace and intensity back up fully.

The album’s instrumental, “Gates of Cirith Ungol” (an obvious Lord of the Rings trilogy reference), comes next. It begins with a mellow, acoustic intro, the song as a whole is somewhat reminiscent of Overkill’s song “Years of Decay”. In the end of it, fast double-bass kicks in and it makes for a nice climax. The next song starts off a little slower, but wastes no time before picking up. The last track, “Traumatic Suffering” keeps up the speed and energy (after a slow, evil sounding intro) until the album’s near-finish, where it slows down for another evil sounding section, and fades out with mellow acoustic guitars. 

⭐⭐⭐⭐

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HYPNOSIA - VIOLENT INTENSITY (1999) (Review by: Aaron DiDonato)

Here we have what I consider legendary, the debut EP of Hypnosia. This band is, in my opinion, the best thrash band since Forbidden, whose debut was in 1988. This EP came out in 1999, so I think that says quite a bit in itself. I’ve been regretfully informed that drummer Mikael Sjostrand (supposed to have an umlaut on the “o” but I have an American computer) has passed away of cancer.

May he Rest in Peace. Now, back to the EP. It starts off the way I think all thrash records should. To me, I hate it when an album’s first track fades in for like a half minute. The first track on this EP, “Funeral Cross” starts up and it’s just like BAM in your face thrash metal!!! I love it. The whole EP is basically the same. It’s awesome, but there’s not much variation between songs. They have their brutal fast parts, then it slows down for a great headbanging or moshing section. The only flaw in this album besides that, is that unlike the debut LP, there are no songs that really stick with you after it’s over. My favorite song for this album is “Haunting Death”. This is definitely in my top 3 EP’s, and second only (in my opinion) to Nuclear Assault’s “The Plague”. 

⭐⭐⭐

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