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OMNITRON - MASTERPEACE (1990)

In 1990 The Swedish thrash crossover band The Krixhjälters changed their name and became Omnitron, later the same year they released their only full length-album under the Omnitron tag, modestly called Masterpeace.

Omnitron and Krixhjälters was both remembered because they was able to release albums during that golden era of thrash metal but qualitywise Omnitron was hardly a thrash metal band, sure it has some tendencies but... come on!!. This Masterpeace is so far away from a masterpiece as they come, It's some type of mix of rock, punk and badly performed thrash with horribly bad vocals. It's in my opinion the worst thrash metal album from the first wave of Swedish thrash together with the aforementioned Krixhjälters Evilution. Not many bands played thrash metal in Sweden so any band that came close got some attention. Just like the lousy Evilution-album there are saxophone solos and I guess that the guys in Omnitron didn't listen to thrash metal at all. They were probably just punk kids that just happened to adopt a metal sound. No, this album is not a good representation of the Swedish thrash metal scene, Masterpeace by Omnitron is forgettable and bad. 

❌

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ONSLAUGHT - KILLING PEACE (2007)

The mid 2000's was a time when thrash metal became popular again and all our old favourites came back, but nothing feels the same. First of all the sound feels updated and contemporary. More professional in a way but the uniqueness that set the bands apart are somewhat lost with the modern day studio techniques.

The album was produced by Andy Sneap, who also produced Exodus' Tempo of the Damned and Kreator's Violent Revolution to name a few. Musically Onslaught's Killing Peace sounds like those two albums but with a different vocalist, the returning Sy Keeler, who sung on The Force from 1986. Killing Peace has more in common with those two albums than their own The Force or Power from Hell. Time changes everything I guess. So expect something updated and quite different if you're not accustomed with Onslaught's new sound. So how good is Killing Peace, it sure can stand on it's own terms even if it has quite strong resemblence with modern day Exodus.

This feels mostly like a thrash metal album, it has minor tendencies towards groove metal at times. Especially Sy Keeler's vocals, he sounds a bit like a mix between Steve 'Zetro' Souza (Exodus), Mille Petrozza (Kreator) and Phil Anselmo (Pantera). In the song "Pain" the band uses the f-word extensively. Which in my world is lazy and it feels dumb to read a lot of fuck in the lyrics. Bands should have more style and taste than that.

But I like the lyrics to the song Destroyer of Worls, a song about Robert Oppenheimer's (The father of the Atom Bomb) famous and chilling Destroyer of worlds-speech.

Onslaught delivers some tight, up-to-date thrash that takes no prisoners and this will definitely rock the boat for many thrashers out there who likes the way that thrash metal has evolved in the last two decades.

Comparing the album to what Hirax, Exodus, Kreator, Sodom, Destruction and such acts are doing I think that Killing Peace stands up well and Onslaught can once again become superstars of thrash like they once was destined to be. 

⭐⭐⭐

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ONSLAUGHT - IN SEARCH OF SANITY (1989)

With a new lineup and image, a different Onslaught was born. This time with one of the greatest metal vocalists of all time at the microphone, Grim Reaper's former frontman Steve Grimmett.

The evil Venom-inspired image is also flushed down the toilet and a more typical Bay Area-sound is adopted, not that far away from what Forbidden and Heathen did during their early years.

Many Onslaught fans was outrageous with the bands shift in music styles even though the album did well on the charts. Today the album is mostly remembered as a semi-sellout and I think that is kind of unfair. The music itself is still thrash metal and Steve Grimmett is an amazing vocalist. The album is professionally produced but it sounds a bit mechanical at times. The one thing to complain about is that the album lacks a bit of that old Onslaught-spirit and that the album is a too repetitive, especially the drummer Steve Grice should be replaced. Otherwise there are a lot of cool riffs and the shouting choruses are in general a good thing when it's mixed in with Steve's screams. In Search of Sanity is a good album, but maybe not what we expected and wanted from Onslaught.  

⭐⭐⭐⭐

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ONSLAUGHT - THE FORCE (1986)

When Onslaught recruited Sy Keeler the former vocalist Paul Mahoney took over the bass and the bassplayer Jase Stallard picked up the rhythm guitar. That might seem a bit amateurish to switch instruments but Onslaught was no amateurs, they were the finest thrash metal band the United Kingdom had to offer.

Their sound is very similar to Slayer on their Hell Awaits. But the biggest surprise to most people is that The force is of the same high quality as Hell Awaits. Sy's voice ranges from rough and commanding to some occasional Tom Araya-like Falsetto outbursts. All songs are six minutes or longer, but they never became boring in any way. There is really nothing to complain on, If you are into mid-eighties thrash metal then Onslaught are a must.

Onslaught are focusing more on rhythmic evil sounding early thrash than on complexed arrangements, that had became more widely spread by the year 1986. The album is more focused on songwriting and riffs than their noisy debut "Power From Hell". There are no fillers on "The Force", every song strengthen the overall impression. Metal Forces is an outstanding song though. Onslaught was one of Englands most succesful and best thrash metal bands over the last decades and "The force" was their most compelling album. THRASH TIL THE DEATH!!!!  

⭐⭐⭐⭐⭐

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ONSLAUGHT - POWER FROM HELL (1985)

Power from hell was the UK thrashers Onslaught's debut album. Even though they coined themselves as Death metal this release are thrash by todays standards. With typical blasphemic lyrics and dark and fast thrash metal Onslaught gained a strong underground following and Power from hell are by most people regarded as a classic in this genre.

This album is a bit more straightforward and less rhytmic than their second release "The Force", this album is dark and menacing, perhaps more on this release than on any of their other albums. The repeating choruses are very memorable and the musicianship is above average. If you mix Discharge, early Slayer and Venom you'll end up with a result close to what Onslaught was doing here on "Power from Hell". The guitartone on this album is tuned down and it sounds like that rumbling thunder just before the lightning strikes.

Onslaught was one of England's best thrash metal bands and Power from Hell is a highly recommended album that you'll sooner or later have to hunt down if you call yourself a fan of extreme metal. 

⭐⭐⭐⭐

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OVERDRIVE (SWE) - SWORDS AND AXES (1984)

Overdrive's second (and subsequently final) LP is an improvement from the first one, as the production is actually listenable this time. The leather studs from Karlshamn continue another step down the metal-true-as-hell lane with "Swords and Axes", which contains a bunch of tunes suitable for headbanging and similar activities. Opener "Dream Away" is a semi-highlight in swedish metal with it's marvellous guitar intro and catchy hook. Probably the best song from LP-era Overdrive. "Black Revenge" offers some great heavy metal riffing and "Mission of Destruction" is a real winner with it's merciless double bass drumming.

However, the duo of terror "Fighting Man" and "Burn in Hell" tend to get extremely boring and annoying somewhere around their respective first choruses and do nothing but harm to the overall impression (the bastards seem to never end!). There is also a problem in the vocal departement, as metal this hard 'n' heavy seems to be out of Pelle Thuresson's league. I really miss the sweet melody of their debut EP "Reflexions", where Thuresson did a great job. But this was the way Overdrive wanted to go, and at least partly, "Swords and Axes" offers a fine listen in it's own right.

⭐⭐⭐

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OVERDRIVE (SWE) - REFLEXIONS (1982)

This (very collectable) little gem is by far the strongest release of Overdrive in my opinion. Recorded in late 1981 and released early 1982, this self financed mini album comes along as a very tasteful mix of Guy Speranza-era Riot and that first Def Leppard EP.

This is very melodic heavy metal, but still backed up with heavy riffs and steady rhythms. Especially the two songs on the A-side are top notch, with great guitar work and memorable choruses. "High Infidelity" follows suite and the faster "You (Give me Hell!)" rounds things off before fading into the accoustic outro "Reflexions".

It strikes me how good frontman Pelle Thuresson sings on this EP, as we all know he had some problems and got some criticism later on in Overdrive's career. I really think that Overdrive should have stuck to this style and not gotten too heavy for their own good (and thus placing themselves out of their own singer's league).

"Reflexions" was released in 500 copies and is very rare today. If you can't find the original vinyl, I suggest that you pick up the recent cd-reissue on High Vaultage Records. Then, besides the EP-cuts, you get their 2 track 1980 demo, their 6 track 1982 demo, as well as two exclusive tracks originally recorded for a compilation LP in 1982. Everything in the same, wonderful vein as "Reflexions".

⭐⭐⭐⭐

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OVERKILL - THE GRINDING WHEEL (2017)

This is the eighteenth studio record from Overkill, that fact alone should earn them a couple of gold watches for their long service to the thrash and metal community. The New Jersey working class mindset has made the band a force to be reckoned with, decade after decade. But Overkill hasn't just survived for nostalgic reasons, they still offers material worthy of our precious time. That is also true with Overkill's latest offering, The Grinding Wheel. The punky straightforward thrash the band delivers here are similar to what the band has produced on their later records.

The album starts with some grinding mid-tempo riffage on Mean Green Killing Machine, one of the best and most diverse tracks on the album if you ask me. The second track is Goddamn Trouble, and it's a punky Overkill anthem that the band recorded a video for. The band keeps the tempo up for the following songs but on The Long Road, we're presented with some Iron Maiden-esque sing-along parts on a track that sounds like a B-side from The Years of Decay. On the track The Long Road, D.D. Verni is showcasing some bass prowess. Come Heavy is a somewhat cool ode to Black Sabbath, with it's heavy rocking riffs. The track Red White and Blue delivers some political commentary (Anti Trump?) and it's one of the strongest and most powerful tracks on the album.

I like that Overkill has made subtle changes to their sound on the Grinding Wheel, if their last couple of albums has been at full speed, The Grinding Wheel dares to slow down and bring some of that heaviness that Overkill incorporated in their sound on The Years of Decay, Horrorscope and W.F.O.. Songwise The Grinding Wheel ain't their best album, not even close but I really do like the sound on The Grinding Wheel and I think the band is unto something here. I most also push Bobby 'Blitz' vocals on this album, his voice is still so vital after a lifetime in the business.

Overkill performs another concrete-chewing thrash album and even if The Grinding Wheel will not change the world, they might just have re-invented themselves enough to make it all interesting. Right now this is the album to beat in 2017.  

⭐⭐⭐

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OVERKILL - THE ELECTRIC AGE (2012)

The hardest working band in the business is back in 2012 with their The Electric Age. Since the nineties Overkill has released albums with varied quality and most fans of the band didn't expect that much from the band anymore, sure they listened to the new albums for a week or two and then went back to spinning The Years of Decay and Feel the Fire. But with the releases of Ironbound and The Electric Age, Overkill feels vibrant and important again as one of the genre's driving forces. Yes, Overkill is having another dawn here. Not only riding the wave of the thrash revival but also by writing steady and speedy material of a high quality.

I still think that their eighties material is untouchable in terms of quality but I enjoy The Electric Age quite much even if the production sounds a bit flat. Soundwise the album feels like a continuation of what the band did on Ironbound. Fast relentless thrash with an ever present bass from D.D. Verni and Bobby 'Blitz's trademarked vocals. The lineup of Blitz, Linsk, Tailer, D.D., and Lipnicki has been intact since 2005. So the band is a tight unit and with such skillful musicians it's hard to see Overkill doing anything else than a solid days work. Overkill are the masters of the electric age...  

⭐⭐⭐

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OVERKILL - IRONBOUND (2010)

Since around 1994 when WFO came out Overkill has released album, after album after album in a quite similar fashion and style. well performed musicianship with a tight modern production with Overkill's patented sound.

Personally I'm a huge fan of their early works, I grew old with their 80's / early 90's stuff. I got a little bit tired of Overkill in the late 90's and the first decade of the 00's. It felt like they released the same material again and again. After the release of the average Immortalis in 2007 my expectations were fairly average to be honest. But I must say that Ironbound is their best album since 1991's Horrorscope

 It's better produced than many of their later works, it's fast and blistering but they also dare to take down the tempo at times, like in the ending of the song Ironbound. Another thing that is quite spectacular it's Bobby 'Blitz' Ellsworth's voice, it's still as vital as ever before. when the vocalist of most other old bands have started to sing worse by every release, 'Blitz' sounds as good as ever before. I like the songs The Green and Black and Ironbound but after a while the album starts to drag a little which hinders it from getting the five stars. But Ironbound will be up there amongst the best thrash metal albums when we summarize this decade I can promise you that.  

⭐⭐⭐⭐

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OVERKILL - IMMORTALIS (2007)

Yet another Overkill album hits the market. It's their fifteenth album, that is quite incredible for a thrash metal band to manage to survive for that long and still be somewhat relevant. Immortalis was released in 2007 and it's quite similar to all their latest releases (Killbox 13, ReliXIV, Bloodletting; Necroshine) It's solid thrash metal with hints of groove metal. I don't like Derek "The Skull" Tailer's voice, he shouldn't do the backup vocals. His modern Phil Anselmo-like voice on Skull and Bones is nothing but terrible. All we need is Bobby Blitz.

The music is as what you might have guessed already, chunky and well-performed thrash metal. I'm an extreme fan of early Overkill but this mid-period from the mid 90's up until Immortalis is weaker. Immortalis is somewhere in between. It's not their worst album, but it's far from the greatness of their masterpieces. Bobby Blitz voice is a bit darker here than on some of their other albums. The production is allright without excelling in any way. The Overkill saga continues here with Overkill V... The Brand, which is a great way to finish this album off, it's darker and slower than the rest of the songs and it breaks off the album in a cool way. Immortalis must be seen as a middle of the road-album, Buy it if you wan't but don't expect anything out of the ordinary here.   

⭐⭐⭐

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OVERKILL - RELIXIV (2005)

Overkill albums seems to be massproduced these days, and for me that makes things here a little less valuable. Lately Overkill haven't impressed me that well and most of their recent material has been average or slightly below average. It saddens me to say that this is not one of their more interesting releases. I thought Overkill was taking small steps into their old pure thrash metal sound, but this another groove metal-fiesta. The album is badly produced and it sounds modern without sounding good.

Bobby 'Blitz' Ellsworth have stated himself that this is his least favourite Overkill disc because of the bad production values, the different tones didn't mix as well as the band hoped for. But underneath all that it's still very recognizable as an Overkill-release. As you can hear I'm not the biggest fan of their 90's and early 2000-albums. The Bats in the Belfry is a terrible song. I can't stand it and the albums big hit "Old School" is some type of weird thrash metal version of an irish pub-song. Without actually being an irish song. It's not a salute to the old school, it's a slap in the face of the fans of old school thrash metal. This album is Overkill's worst together with Killing Kind.  

⭐⭐⭐

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OVERKILL - KILLBOX 13 (2003)

After twenty years Overkill is still going strong, even though a new guitarist (Derek Tailer) have been recruited since their last studioalbum nothing has really changed, 'Blitz' is still one of the best vocalists in the genre and it may seem like D.D. Verni where born in a boilerroom, in other words all the classic elements that makes Overkill stand out from the pack are included, Overkill keeps mangling without mercy as always without compromising with trends or big and mighty record companies. This album will probably not be as remembered as their earlier work even though the production is close to perfect, hey it's the year 2003, what else to expect?. The lyrics are as witty as ever but one thing is missing, the real killer tracks like Horrorscope, In union we stand or Wrecking crew those seems to be history. Otherwise this album is as good as their earlier work but Crystal clear, Until I die & Struck down have fragments of what used to be.

The song introsong "Devil by the tail" is outstanding song, a killer!. Killbox 13 is not as varied as other Overkill records might be. They keep up their pounding thrash continuously through out the hole Killbox, no ballad's and no rapid over the top songs. A passable work from one of the genres best band, nothing compared to their best efforts but still a solid album. 

⭐⭐

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OVERKILL - NECROSHINE (1999)

The New York veterans are back for another attack. Necroshine was released in 1999 and the album starts out quite strong with songs like Necroshine and My december. But after those songs Overkill churns on at halfspeed with some successful songs on the way until the nice last songs of this album. Black line is an interesting affair. from the strong chorus to the incredible end with the monstrous guitarplay and the nice bass-outro.

The diversity with Necroshine is excellent. It contains mostly thrash riffs but some slow doom metal-like riffs strikes down upon the listener frequently. The guitarplay has been quite weak since Bobby Gustafson left Overkill but Joe Comeau and Sebastian Marino does a great job on Necroshine. The production is similar to many other resurrected thrash bands, not so far away from Destruction's latest releases. But Overkill as a band sounds nothing like our fellow germans. Overkill keeps on carrying the torch of real thrash metal and Necroshine is an competent piece of work. I would have to say that Necroshine is their best work in years. 

⭐⭐⭐

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OVERKILL - FROM THE UNDERGROUND AND BELOW (1997)

Overkill is back for another thrash attack one year after their 1996-release Killing Kind. From the underground and below are similar in sound and style to Killing Kind and Necroshine. The music are of the same quality as always when it comes to Overkill. A little less solos than on earlier releases but they make up for that with brilliant riffs.

There are some modern sounds thrown in here and there and the production is almost too mechanical for me, I like it more raw and noisy. Unfortunately the punk influences belongs to their past, this album has more groove than most of the other Overkill releases a quite typical 90's thrash album. And believe it or not, the song Promises is a ballad, Overkill usually doesn't write ballads at all. And what about the rest of the songs, well... It lives, Long time dyin and Half past dead are the most memorable songs on this disc. And have look at the artwork for this album, it's amazing! And even though Overkill refuses to release useless discs this high standard are still a let down from their past. This album will not be your highest priority when picking up Overkill CD's, but if you find it at your local shop at a fair amount of money, go for it because you'll probably bang your head to it quite hard for a couple of days! 

⭐⭐

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OVERKILL - THE KILLING KIND (1996)

People complains about that Overkill keeps releasing the same disc over and over again, but ain't that much better than doing a Metallica and "evolving" into something horrible? I can agree that Overkill are repetetive but I applaud them for being themselves.

This album has the same thick sound as later Overkill-releases and the band's sound in general hasn't changed that much since the release of "Horrorscope". But I think this album has more groove than any earlier Overkill-album, concentrating more on heavy arrangements than on speedy numbers, they have slowly developed into this sound since Bobby Gustafson left. Overkill recruited two new guitarists for this release, Sebastian Marino and Joe Comeau who is known for his time in Liege Lord, they aren't bad but who can fill Gustafsons slot, I guess no one can. The old speedy obnoxious image has been washed away and replaced by an almost unholy darker sound, which fits 'Blitz' demonic voice better than their older material but they've lost a bit of attitude and thrashing rage on the way. One of Overkill's weakest moment. 

⭐⭐

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OVERKILL - W.F.O. (1994)

Without caring that much for trends Overkill kept their thrash sound intact during the first half of the nineties, even though most other bands had left the scene long time ago. Sure Overkill would step into the realm of Groove Metal on some of their albums during the nineties. But I think Overkill is pretty true to their roots here on their seventh studio album: W.F.O.. Tthere are a few heavy passages that has some resemblence to Groove Metal but this is generally a thrash metal album. But W.F.O. has this dry 90's sound with a bass turned up to eleven. It's so damn present that it almost get's too much. I like the tracks Supersonic Hate, Bastard Nation & Gasoline dream. The song R.I.P. (Undone) is a salute to Savatage's guitarist Criss Oliva whom died in a car crash in 1993.

I very seldom listens to 90's thrash and especially mid nineties material but I think W.F.O. are one of the few records from the era between 93 and 97 that are worth hearing. Compared to the classic 80's era W.F.O. lacks some but in retrospect I would put W.F.O. somewhere in the middle if I was to rank their catalogue. W.F.O. stands for Wide Fucking Open and it's the bands last album on the Atlantic label and the last album with guitarists Merritt Gant and Rob Cannavino. The band put three hidden cover samples on the CD. For 1994, W.F:O. rules but if you're new to the band go for their older albums first. 

⭐⭐⭐

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OVERKILL - I HEAR BLACK (1993)

In 1993 when the thrash scene was more or less dead, Overkill kept going but they had lost some of their magic here. I still listened to this album quite a lot but compared to their two previous albums The Years of Decay and Horrorscope this is a rather big step in the wrong direction. One must also remember that original member Bobby Gustafson left Overkill three years earlier and ironically the bands worst years followed.

Some songs reminds me of good 'ol Overkill, tracks like Spiritual Void, Weight of the world & Ignorance and innocence. Overkill also goes down the grunge route with the song Shades of Grey. Don't get me wrong I like some variation but the album lacks some distinct punch and some thrash metal mayhem. If you are a huge Overkill fan you should buy the album, but don't go and expect this to be as good as their classic material. But to me this is quite entertaining, the album differs from the rest of their catalogue, but you can still hear that it's Overkill, no doubt. Perhaps Overkill was a little too inspired from Metallica's Black album? The band flirts with a more mainstream sound here and the songs are just not as blistering as before.  I'm not that disappointed even though I expect more from Overkill. I hear black just like you!   

⭐⭐

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OVERKILL - HORRORSCOPE (1991)

Overkills fifth album is one of their most popular releases, even though longtime guitarist Bobby Gustafson was kicked out of the band due to internal problems prior to the release of Horrorscope. On Horrorscope it's all about the bass, there are tons of heavy boiler room frequencies from D.D. Verni here and the album feels heavier compared to their earlier albums. Horrorscope is a mighty fine release but missing a bit of the youthful intensity from their earlier work, None of Merritt Gant and Rob Cannevino fills Bobby Gustafsons shoes  even though Horrorscope has some similarities to the bands previous album The Years of Decay.

I like the songs Coma, Thankx for nothing, Frankenstein (Edgar Winter Group-cover), Horrorscope and Solitude. This is not a brutal album, the style is more like a darker version of late eighties Anthrax but with a different vocalist, not the perfect description but, I can recommend this album to those who like early nineties thrash metal. Bobby "Blitz" Ellsworth vocals are incredible as always, he is the perfect frontman. But I'll rather recommend that you go for their earlier album before Horrorscope even if this is a top class metal disc. This was also the last great Overkill album, some say that they never reached the same heights again. But Overkill struggled a bit through out the nineties and Horrorscope was their last masterpiece in a line of many. Horrorscope is definitely an album you need to hear. 

⭐⭐⭐⭐⭐

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OVERKILL - THE YEARS OF DECAY (1989)

Overkill is back once again this time with a beefier sound and a bit less aggressive and with a darker doomier sound. The best thing with this disc are that all the songs are great, no fillers only killers.

You can listen from the very first track to the last without getting bored for a second. This are one of Overkill's greatest releases and perhaps their most popular album of all time. Song like Time to kill, Elimination, Playing with spiders/Skullkrusher, Birth of tension and The years of decay are out of this world. I could have mentioned them all. Speaking of Playing with spiders/Skullkrusher, it's the first and only time Overkill has recorded a doom metal song and it's amazing, I wished they would record more doom metal tracks in the future. Overkill could have been one of the best doom metal bands if they wanted to in that direction. Speaking of odd compositions in the Overkill catalogue, The title track "The Years of Decay" is a powerful ballad with a memorable chorus.

'Blitz' vocals are perfectly suited for this type of music, he can crush rocks with his evil approach. D.D. Verni is one hell of a songwriter too. Maybe not the most complexed structures but he makes up with it in his basslines. This was also the last time that original guitarist Bobby Gustafson played with the band and they lost some direction after he left the band. The production on this album sounds a bit like Metallica's ...And justice for all but this album has a louder bass. If you haven't got this album I can promise you that you have missed one essential 90's thrash album. This is an album that never will decay. 

⭐⭐⭐⭐⭐

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OVERKILL - UNDER THE INFLUENCE (1988)

The gutterboys from New York has returned as vital as ever before. The album starts out with an classic, Shred and on our way to the end of this album we are presented Overkill-classics like Hello from the gutter, Mad gone World, Drunken Wisdom, End of the line & Overkill III. It is like a steamroller of absolutely top class-thrash rolls you over again and again. This disc is just loaded with masterpieces as you can understand. Under the influence is perhaps Overkills fastest and angriest album next to Taking over. The intensity from their past is blended with the heaviness of their late eighties/early nineties. The production is thicker than before, quite similar to the sound on The years of decay. Anyhow, this album is perfected by Bobby Gustafson's guitarplay, from his acoustic brilliance in Drunken wisdom to the furious thrash riffs in Mad gone world. Still this album might be seen as their weakest during the eighties but still it's better than most bands compilation albums. And I have to say that their big hit Hello from the gutter is perhaps the best Overkill-song there is. Overkill shred, simply stated!  

⭐⭐⭐⭐

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OVERKILL - TAKING OVER (1987)

After their success with 'Feel the fire' Overkill is back again in 1987, back with a more massive sound and a more professional produced album. The first thing that struck me while writing this review is that all songs are so strong. Taking over has no equal in the overall impression. At least one or two songs is often not as great as the other, but in this case ALL songs are vicious in the old Overkill way. Just look at the tracklist if you have heard any of those songs before, then you'll know that it is of high class. On 'Taking over' Overkill wastes no time with ballads or doomy epics like on their later career, this is as straightforward as Overkill gets. My personal favourites has to be: Wrecking crew, Powersurge & In union we stand. For those who never heard Overkill, I would have to say that they've got some rebellious punk-attitude mixed with the straightforwardness of the early thrash genre. Taking Over is one of  my favourite Overkill albums. Definitely top three for me. People tend to forget about taking Over because it was an in between album, after their succesful debut and released before the years of decay. This is certainly one of the best efforts ever to come out from this genre. Overkill has taken over!!! 

⭐⭐⭐⭐⭐

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OVERKILL - !!!FUCK YOU!!! (1987)

This EP was released in 1987, some months after the release of Taking Over. This EP was banned because of the the title !!!Fuck you!!!, but later it was released with a bag over the artwork. The song Fuck you was originally written by the punkband subhumans. I can imagine that "Fuck you" would be very popular in their liveshows. The rest of this EP are live-tracks from Feel the fire- and Taking over-albums. Recorded live in the Phantasy Teathre in Cleveland in 1987. This EP was later re-released with a couple of more songs and it was renamed to Fuck you and then some. But this was the original-release. And it's just for Overkill-fans as I see it, you better go for their real albums before this one. I'm no bigger fan of live-albums and this album isn't better or worse than any other live-album, they've picked cool songs. I really love the song Rotten to the core. But I prefer the studio version of all those songs. Except Fuck you when 'Blitz' shouts at the crowd: We don't care what you say and the crowd shouts back Fuck you. It makes me want to se Overkill live. And that might have been the point of releasing this EP.  

⭐⭐

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OVERKILL - FEEL THE FIRE (1985)

First when I got my hands on Overkill's first full-length album I wasn't so impressed at all, I had a few other of their albums and I thought this sounded like a punkier version of early Iron Maiden.

I've listened to it a couple of times and then I'd put it long way back in my collection, some months later I decided to give the album another chance so I started listening to it again. What the f*ck?!?!?!, was this the same album that I've thought was nothing to care about just months earlier?, I must have been deaf back then because this album is absolutely brilliant, my personal favourite of all Overkill albums, even though Overkill is one of my favourite thrash bands this album stands out from the pack. 'Blitz' voice and delivery on this album is the greatest effort I've ever heard on any thrash album before.

'Blitz' is the perfect thrash metal vocalist. Add to that the galopping guitars, fast and furious basswork and the drummer 'Rat' Skates does a great job. My favourite songs on this album must be "Feel the fire" & "Overkill". Feel the fire might never have been considered to be their greatest album of all time but I've heard more people lately speaking of Feel the Fire as their very best.  go out and snap this one up right now!, my only complaint on this album is that the songs are all quite similar in style and the production is not as beefy as on the later albums, but who cares when all songs kick some serious ass.

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OVERKILL - OVERKILL (1984)

According to the Metal Archives this EP was released three months after Feel the Fire but that's not correct. The Overkill EP was released in 1984 through Azra / Metal Storm. There are four tracks on this EP and three of them was later re-recorded and released on their studio albums. Rotten to the Core and Overkill was re-recorded and released on the debut Feel the Fire and Fatal if Swallowed was re-recorded and released on the band's second studio album Taking Over. The band never bothered to re-record and release the song The Answer. It's not their best track so it's no surprise that they didn't include the track on their upcoming releases. The three other tracks draw influences of Iron Maiden and Judas Priest with a more street edge to them but The Answer is a doom metal song with strong Black Sabbath influences, the track is almost 9 minutes long so it drags on a little too long but still it's the only track that most of the fans haven't heard before. I really like the song on this EP, the self-titled track Overkill, it sounds so sinister in this version, even if this EP is heavily underproduced and raw in every way.

The original EP was pressed in 4000 copies over thirty years ago so it will be hard to track down a copy today but the entire EP is reprinted on the !!!Fuck You!!! and Then Some compilation which came out in 1996.

One could hear that the band is amazing songwriters but the production is not yet up to par. If you find the EP in it's original form you should definitely pick it up cause it's a rarity these days.  

⭐⭐⭐⭐

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