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SABBAT - MOURNING HAS BROKEN (1991)
After some major lineup-changes only guitarist Andy Sneap and Drummer Simon Negus was left in the band by their third and last release "Mourning Has Broken". Sabbat did what their countrymen in Onslaught did, a total makeover, which also became Onslaughts downfall. Maybe Sabbat should have been more careful before moving into a new direction because this album alienated many of their old fans.

Martin Walkyier's venomous and aggressive vocalstyle has been replaced with the opposite, a Ritchie Desmond who almost sounds like Tony Martin from Black Sabbath's Headless Cross-album.

Mourning has broken sounds like a thrashier version of Headless Cross. If Dreamweaver was a tale of dark poetry combined with a ripping thrash metal, this is a moody and slightly progressive power/thrash affair.

Martin Walkyier went on and fronted Skyclad and Sabbat disbanded shortly after releasing "Mourning Has Broken".

By switching to a cleaner sound the band lost it's savagery and reputation. Andy Sneap said in an interview that he regret recording this album under the Sabbat-name. I agree on that part, this is not bad, but it's not the old Sabbat we used to love. 

⭐⭐⭐

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SABBAT - DREAMWEAVER (1991)

Sabbat was one of Englands more prominent thrash metal acts of the late eighties but both Martin Walkyier and Andy Sneap might be more known for their work after disbanding Sabbat. Sabbat's singer Martin Walkyier is known for fronting the folk metal legends Skyclad. He has also been a member of highly influental NWOBHM-legends Hell lately. Add top metal producer and guitarist Andy Sneap to the ranks and you got an interesting constellation. Sneap has produced Megadeth, Testament, Kreator and Exodus amongst others. He has also played guitars in Hell. The band, not the place. I would presume. haha

The Dreamweaver album is a concept-album based on the book "Way of the Wyrd" by Brian Bates. It's a story about a christian pilgrimage who travels to England to convert pagans. The lyrics are amazing and add to that Martin Walkyier's venomous signature vocals. On Dreamweaver the band continues to build on what they started with on "History of a Time to Come". But this time everything is sharpened and perfected. The complexity, the speed and the songwriting, combined with a great production and really talented musicians. Sabbat throws in a few acoustic parts and it suits this tale of Anglo-Saxon sorcery just perfectly. Dreamweaver got it all and that's why I give it the perfect five stars. It's a classic. 

⭐⭐⭐⭐⭐

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SABBAT - HISTORY OF A TIME TO COME (1988)

In 1988 a bunch of teenagers got signed under the name Sabbat and they debuted with History of a time to come. Sabbat featured famous producer Andy Sneap on guitar and the vocalist Martin Walkyier, who later joined Skyclad. Sabbat's sound is mostly acknowledged by Martin Walkyier's venomous vocals. He is one of the best thrash vocalists indeed. Sabbat found other ways to portray their evil music than on satanism, they borrowed their material from folk tales and history.

Martin Walkyier's lyrics are outstanding, dark poetry at its best. The guitars by Andy Sneap is often changing which makes the music more diverse and easier to listen to. I love the songs 'Horned is the hunter' & 'For those who died' the most on this album. The album has a dark atmosphere due to the lyrics, the acoustic guitarparts and out of nowhere the ultimate lizard like vocals appear. The song Behind the crooked cross is not a Slayer-cover. I dub Sabbat as the best English thrash band along with Onslaught and Xentrix. History of a time to come is an excellent proof of their ability to thrash. One of the best thrash albums to rise from The Islands of the UK. 

⭐⭐⭐⭐⭐

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SACRED REICH - INDEPENDENT (1993)

Sacred Reich developed a quite chunky style of thrash with Phil Rind's trademark confident vocals. Sacred Reich was very well suited for the direction that the music business took in the early 90's. With heavy groove metal-riffs and somewhat a Pantera-light style Sacred Reich had some moderate success with their predecessor "The American Way".

Sacred Reich became one of the genres most popular bands in the early nineties. The album starts out with a song called Independent and it's a quite brilliant opening of this album, unfortunately the rest of the album ain't as strong. The sluggish and dragging guitarwork destroys a lot of energy on this album. But Sacred Reich has taken a step in this direction by each release and on Independent everything seems to go in slow-motion. Independent was still a quite important release for the thrash metal genre, a genre that was dying around the time of this release. Unfortunately, Independent wasn't strong enough to revitalize the dinosaur that thrash was at the time. 

⭐⭐⭐

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SACRED REICH - AMERICAN WAY (1990)

After the wildely succesful Surf Nicaragua-EP the band decided to keep going with their new crunchy sound. The American Way is their most popular albums and it's even called a classic in the genre sometimes. With a style that reminds me of giants like Anthrax, Metallica and even Pantera. Sacred Reich delivers a mid-tempo thrash album filled with chunky riffs and memorable choruses. Top that with Phil Rind's beefy and confident vocalstyle.

Things have changed quite a lot since the punky days of "Ignorance", because this is way less intense. Some would even go that far to call it mainstream. The American Way feels a bit like that tough guy in the bar that wants to fight you, at first glance, you'll notice the steroids and it's threatening in every way. But if you look closer, it's not that dangerous at all, it's insecurity that shows, the empty cans rattles the most as they say. What the fuck is 31 flavors? A funk song on a thrash metal-album?, the band has become pranksters. I always disliked bands becoming comedians on their albums. I don't want funny rhymes and dick jokes. I want speed, aggression and seriousness.

The production is good and this was the latest thing in 1990. So the band was spot on and gained a rather large following. But in hindsight The American Way didn't stand the test of time.  

⭐⭐⭐

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SACRED REICH - SURF NICARAGUA (1988)

After Sacred Reich's strong but quite depressing debut the Surf Nicaragua EP was released and it turned out brighter, more vivid and less gloomy than it's predecessor. “Surf Nicaragua” packs more sophistication into its six tracks, introducing a more mid-tempo style, palm-muted riffing for a crunchier less raw sound.

The Surf Nicaragua EP includes a cover of Black Sabbath's old classic War Pigs. This version is similar yet thrashier in a typical Sacred Reich-way.

One Nation and Draining you of life are strong thrashers and the EP ends with two live recordings of Ignorance and Death Squad, both from Sacred Reich's debut album Ignorance. Including live tracks from a previously released album might not be the greatest idea ever, but the songs does sound great live, I have to admit. All in all, I really like this EP, I think it's Sacred Reich's best release. Maybe just because it includes their all time best song; Surf Nicaragua. The title track Surf Nicaragua is amazing. It's a real thrash metal anthem that destroys everything that comes in it's way. These lines are as classic as it gets:

"You fight for democracy

And the "American Way"

But you're not in your country

"What am I doing here?" you say

But now it's too late

You're entering Managua

If you had brought your surfboard

You could surf Nicaragua"

⭐⭐⭐⭐

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SACRED REICH - IGNORANCE (1987)

Sacred Reich's debut was released in 1987 on Metal Blade and it was produced by the legendary producer Bill Metoyer.

If you think of punk legends Dead Kennedys and mix it with "cowboys"-Pantera and a you will end up with a result close to what Sacred Reich was doing. Their music has some crossover vibes but Sacred Reich doesn't go all the way in that direction even if their lyrics is filled with social and political commentary. Sacred Reich also has a stereotypical american cockyness with the aggressive shouting vocals from Phil Rind. The music is often fast and hardcore-like in it's approach.

Ignorance has all the elements that made thrash into what it is: differing song lengths, blazing fast, rough solos, and some really raw lightning-fast vocal delivery. And the guitar riffs are majorly aggressive, but not all the time original. And the crushing drum beats are set at a fast pace. I am personally not the biggest fan of Sacred Reich's music. I don't really know why, maybe it's too punkish for me or Phil Linds vocals can be a little too much. But I do love the song Ignorance, it ha some tense and creative riffing in it. Ignorance is a good album and perhaps their best together with the Surf Nicaragua EP. 

⭐⭐⭐⭐

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SACRIFICE - APOCALYPSE INSIDE (1993) (Review by: Mikael Vedin)

This is some really excellent thrash from Canada. Apocalypse Inside is Sacrifice's fourth and also last record. Shortly after it was released they disbanded, which is truly a shame since they have put out some really great music over the years. Apocalypse Inside is perhaps their strongest effort with great tracks such as "Flesh", "Salvation" and "Freedom Slaves". The music is heavy and fast, much in the vein of Slayer and Exodus.

The vocals of Rob Urbinati stands out from most of the other thrashbands like Heathen or Forbidden with an almost growl-like approach. That and their fenomenal feeling for great and memorable riffs is what I think makes Sacrifice so fucking awesome! Every song on this album is really cool from the short but intense "My Eyes see Red" to the masterpiece that "Freedom Slaves" is. This is just one of those albums that you can't seem to get enough of. It's heavy, intense, fast, all the things one could want from a thrash album. A worthy last album from a great band.It's just a shame that they didn't get the attention they deserved. 

⭐⭐⭐⭐

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SACRIFICE - SOLDIERS OF MISFORTUNE (1990)

In my book Sacrifice was the most consistent band in Canada together with Razor when it came to delivering thrash metal. Sacrifice never slowed down, turned to grunge or released any groove metal albums in the nineties.

No you could always trust Sacrifice to do the right thing. When you see their logo you'll know what is offered to you. The same goes of course with their brilliant third album entitled Soldiers of Misfortune.

Compared to their earlier efforts this album feels more matured and more within the frames so to speak. It's not as insane and as challenging as their previous album Forward to Termination. No Soldiers of Misfortune feels more professionally made, especially the production feels fresh and the bass is audible and ever present. Att to that some clock-precize drumming by the brilliant Gus Pynn. Rob Urbinati's vocals feels a bit more controlled this time, there are less shrieks going on here.

Still Rob's voice reminds me of Schmier of Destruction. The guitar riffs and solos delivered by Rob Urbinati and Joe Rico are also of a high class. Soldiers of Misfortune might not reach the same heights as Forward to Termination but overall it is a more coherent product. Soldiers of Misfortune is at the same time a more predictable, which I generally don't like. I like when things are on the edge and when things are over the top. Still Soldiers of Misfortune is a real good thrash album. It still belongs to the elite of Canadian thrash. No doubt about it. 

⭐⭐⭐⭐

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SACRIFICE - FORWARD TO TERMINATION (1987)

If you mix Testament's debut album The Legacy with Kreator around Terrible Certainty you'll get close to the sound that Sacrifice has managed to produce here on their second album. And compared to their debut Torment in Fire this is less noisy and primitive.

If Torment and Fire had a few early Kreator-vibes this is cleaner and bordering less unto death metal. I'm no extreme fan of Sacrifice's debut album but they are unto something here and it's rather remarkable the journey the band has done over the past two years since Torment in Fire. Sacrifice really shows they are brilliant songwriters with the song Re-Animation which is nothing but a masterpiece with that monumental galopping uptempo-riff. I also like vocalist Rob Urbinati who reminds me a bit of Schmier of Destruction but without that thick german accent. Rob delivers some lunatic screams on this record and who doesn't love a charismatic vocalist that sounds like a psychopathic killer on the loose, hehe.

The rhythm guitars is also worth mentioning. It's seldom that you hear that many good riffs on one single album and most of them are delivered at high speed but still with a lot of diversity.

On the minus side I must say that the production isn't the best I've heard but it's not bad either and there are one or two fillers on the album.

But it all adds up to a into a real strong package and I think that Forward To Termination is up there with the best Canadian works together with the best works of early Annihilator, Infernäl Mäjesty, Razor and late eighties Voivod. 

⭐⭐⭐⭐

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SACRIFICE - TORMENT IN FIRE (1985)

The Canucks in Sacrifice debuted with "Torment in Fire", a quite brutal for it's time, in 1985. Stylewise, Sacrifice are pretty much walking in the footsteps of Slayer, but at the same time they have that streetwise slopiness, typical for contemporary Kreator. Add Rob Urbinati's vocals, bordering on death metal in a way that was rare back in 1985, and you get the picture. Brutal stuff. As for the tempo, most of the songs attack at full speed. It's like a typical debut album thing. It's raw, it's low budget and they guys are thrashing like there is no tomorrow. That's a good thing, but it is also the albums weakest point.

All the songs are quite similar to each other. The riffs are fast and slashing, but you could easily swap riffs between songs without making any significant difference. On the other hand though, identity might not be a priority, when all we are aiming for is headbanging. Better things were to come from Sacrifice, but I can still warmly recommend "Torment in Fire" to anyone into Slayer and Kreator. 

⭐⭐⭐

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SACRILEGE - BEHIND THE REALMS OF MADNESS (1985)

Sacrilege is an outsider on the UK thrash scene, mainly because they had so strong ties with the UK-Crust scene that was popular in the early eighties. But one must remember that Sacrilege was one of the first to play thrash on the British Islands. By that alone they write themselves into the history books for. But what about this album then?

Well, Behind the Realms of Madness was the bands first full-length effort out of three, on later releases they slowed down and evolved more into a doom metal band. But this debut LP is more in the UK Crust / Thrash vein.

All songs chugs along in a similar tempo and the riffs get a bit tedious and repetitive after a while, just like so many UK crust / hardcore bands tend to do. Sacrilege must have listened to Discharge before writing this album and that is indeed a good thing. Worth noting is that the band is fronted by a female, Lynda "Tam" Simpson and she sounds great. Maybe Sacrilege never truly found their place as a band but this is still an important piece of UK's thrash history. 

⭐⭐⭐

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SACRILEGE B.C. - PARTY WITH GOD (1986)

As one of the more obscure bands from the Bay Area around San Francisco, Sacrilege B.C. is a band that many fans of the genre missed out on. They were originally called Sacrilege but they renamed themselves to Sacrilege B.C. due to the English crust / thrash band Sacrilege owning the rights to the name.

Sacrilege B.C. (B.C. stands for their home of Berkeley, California) plays unapologetic and fast thrash with no holds barred. This is some of the fastest thrash you could find in 1986 without bordering to crossover. Party with God is like a poor man's Reign in Blood, except Party with God was released months prior to Reign in Blood. There are no ballads here, just straight away hectic thrash with rapid-fire drumming and lightning fast guitar solos, maybe a bit more archaic and one-dimensional than your Reign in Blood or Darkness Descends but definitely a contender that should have been taken more seriously.

The vocals by Strephon Taylor are almost futuristic in it's aggressiveness, you heard very seldomly this type of aggressive vocals during the first months of 1986. The production of Party with God is unfortunately a bit on the muddy side. I saw this album in a magazine where they ranked the 10 best Bay Area albums and Party with God was number 10. Which is a good result when you think about the fact that the thrashing elite was in the neighbourhood. I wouldnt rank it that high but it's definitely an album you need to hear if you're a fan of aggressive eighties thrash metal. 

⭐⭐⭐⭐

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SADUS - OUT FOR BLOOD (2006)

2006 was supposed to be year when Sadus returned and took back the crown as techno-thrash's most violent band. But when it comes to comebacks there are many pits to fall into. Especially when time changes the conditions. One must remember that in the early 2000's retro styled thrash was almost non existent and bands such as Soilwork, The Haunted, Dew-Scented was topping the extreme metal charts. So it's not a huge surprise that some bands change their sound to be more compatible with what is popular at the time. For me that has always been the cowards way out as great bands are leaders not followers.

Anyhow, At first Sadus seems to be back on track after listening to the albums first track; In the name of.... But don't get fooled. Out For Blood are more or less a ultra-modern Nu-Metal disc with dry downtuned guitars and stupid tough guy-vocals that makes Phil Anselmo look like a poet, not ony that, the album is also very experimental, with a mishmash of strange keyboard sounds, bad vocals and sluggish simplistic riffs. The only guy that still impresses somehow is Steve DiGiorgio, but not even a bass god can save this bad excuse of an album.

It's irony that a band that once stood on the barricades shouting: Death To Posers now has incorporated simplistic poser ideas into their music. Sorry Sadus, but this is what happens when you follow trends instead of staying true to your ideals. But other bands have also made mistakes over the years. 

I just hope Sadus comes back and gives us another technical death / thrash record instead of this crap. Maybe I'm a bit harsh here in this review but Sadus is a band that we expect greatness from and when we're presented with a weak semi-sellout of an album I get furious. Out For Blood? No, More like Out of Touch...

* If you're still interested in buying this album after I slaughtered the album, try to find the double CD-version with bonus tracks. Sadus has covered Iron Maiden - Invaders and Dark Angel - Merciless Death, both worth hearing.

⭐⭐

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SADUS - SWALLOWED IN BLACK (1990)

Two years after Sadus brilliant debut album Illusions the follow-up Swallowed in Black was released. Here the band indulges more in tempo changes and overall it feels more structured around riffs and less focus is put on sheer speed. But let's not fool anyone here, Sadus is still plays faster and more aggressive than just about everyone in the business.

Swallowed in Black still thrashes with a seemingly endless stream of hostility, thanks to the blazing opener Black and numerous short bursts of violence in songs like Last Abide or the self-explanatory In Your Face. The band probably still holds a few speeding records thanks to those tracks. Swallowed in Black is more technical compared to their debut. Steve DiGiorgio does an amazing job on his fretless bass. Darren Travis and Rob Moore has stepped up on another level and Jon Allen's drumming is highly underrated.      

In the end Sadus sadly didn't become the legends they deserved to be.

Steve DiGiorgio spent a little too much time handling the bass in Chuck Schuldiner's Death and Rob Moore left the band and the momentum the band had built early on was lost. But Swallowed in Black is an amazing tour de force of thrash. It's was like Slayer on steroids. Swallowed in Black was a remarkable album and overall I consider it their best effort. After releasing Swallowed in Black Sadus embarked on a tour with Sepultura and Obituary and those shows must have been legendary because Swallowed in Black certainly is. 

⭐⭐⭐⭐

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SADUS - ILLUSIONS (1988)

One of the most uncompromising albums of all time was released back in1988. I'm talking about Sadus brilliant debut album Illusions. It was one of the best of those incredibly aggressive albums that was released in the later half of the eighties and in the early nineties. I'm thinking of classics like Pleasure to Kill, Reign in Blood, Epidemic of Violence, Strappado, Spectrum of Death, Malleus Maleficarum & Piece of Time.

Illusions by Sadus belongs in that group of excellent and menacing thrash classics. Like a few of them Sadus also has a minor death metal-vibe going on as well as the usage of blast beats in the song Hands of Fate. It's so intense and add to that Steve DiGiorgio's fantastic bass and Darren Travis screeching vocals. The riffs fly by with lightning speed. This cathartic and highly chaotic release truly delivers on all cylinders.

Illusions was produced by John Marshall of Metal Church and it sold 7000 copies and the band got signed by Roadrunner Records afterwards. Subsequent pressings of the album was released under the name Chemical Exposure.

Illusions is under half an hour long so the comparisons with Slayer's Reign in Blood is unevitable. While not being quite as important historically this was really pushing the envelope of what was possible in terms of aggression, speed and technical brilliance. Strangely enough Sadus career never took of in the similar fashion as many of the other greats of the time but Illusions will always be remembered as one of the fastest and most aggressive albums to be released in the golden decade.   

⭐⭐⭐⭐⭐

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SADUS - ILLUSIONS (1988) (Review by: Tomas Ericson)

A very intense and angry record, even if it's thrash (well, with one superb grinding blastbeat section and minor tendencies towards death metal) it still stands out as perhaps the most aggressive record I've ever heard.

Every song is frantic in some way; the singer sounds mean and the instrument performances are tight. It's a very nice record to hear all the way through, especially if you're upset, but there are no real "hit" songs except for, in my opinion, the first track on side 2: Hands of Fate. That's the song which includes the blastbeats. This record was later re-released in 1991 under the name "Chemical Exposure" (originally in 1988). 

⭐⭐⭐⭐

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SARCOFAGO - THE WORST (1996)

In 1996 Brazilian metal legends Sarcofago released their fourth and last studio album. At the time of the release thrash metal was completely dead and it must have been confusing times for Sarcofago. In the nineties everyones perspective of how metal should sound changed with bands like Pantera and Machine Head.

Sarcofago did unfortunately also fall for the trends of the nineties and stepped right into Pantera-land. Still Sarcofago is a very brutal band and compared to Pantera they had much more death metal in their sound. But the Pantera-production is definitely on place here. With grinding machine gun-like riffs. The album is quite varied, from slow almost doom metal like riffs to death metal blastbeats but it all drowns in that terrible 90's production. Sarcofago didn't have a drummer on this album, no it is plastic sounding programmed drums. If this album was produced in the same ways as I.N.R.I. or The Laws of Scourge it could have been a great album.

One thing is at least instantly recognizable, the great voice of Wagner Moura Lamounier. He has one of the best aggressive voices and he was made to sing on death / thrash albums but not even his great voice can save this mess. The album was titled The Worst and that was a fitting name for this album. 

⭐

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SARCOFAGO - THE LAWS OF SCOURGE (1991)  

Sarcofago's debut INRI was an amazing mix of black, thrash and death metal and in all ways a legendary album. The follow up was released in 1991 on the famous Cogumelo label. The laws of scourge is still a mix between black, thrash and death metal but perhaps more leaning towards the death/thrash musically.

Wagner's vocals are similar to Chris Bailey in Infernäl Mäjesty, angry death metal-like vocals with occasional high-pitched screams. The raw production from the INRI days are gone and we're presented with a much more typical early 90's sound and production.

The album has a few blastbeats moments and some great harmonic guitar melodies as well. Speaking of songs; Screeches from the Silence, what an amazing triumph.

It has everything, great vocals and eerie keyboards and the best type of thrash metal you can imagine.

Sepultura was the superstars of Brazilian thrash but Sarcofago was as talented. If you're into Sepultura around Beneath the Remains/Arise then you need to get your hands on some Sarcofago today. And why not start with their thrashiest album: The laws of scourge. 

⭐⭐⭐⭐⭐

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SARCOFAGO - ROTTING (1989)  

Sarcófago's mainman Wagner “Antichrist” LaMounier was an original member of Sepultura and was involved in the creation of their early style. But while Sepultura gradually shifted their sound away from black metal (moving to the greener pastures of thrash and later reached stardom on Roadrunner Records) Wagner on the other hand formed Sarcófago and remained more loyal to their sound, their label Cogumelo and their nation of Brazil.

After writing one of the most extreme metal albums the world ever heard in their 1987 debut I.N.R.I.. Sarcófago had a big task in front of them prior to recording Rotting. Sarcófago had a strong underground following but never reached the same fame as their countrymen in Sepultura. In that, Wagner and Max Cavalera can be seen as Brazil's answer to Dave Mustaine and James Hetfield. So how do you follow-up an album like I.N.R.I.? Well Sarcófago's sound can best be described as direct continuation of and evolution of Sepultura‘s Morbid Visions-era aesthetic, but with less reverb.

The vocals by Wagner Lamounier sounds more extreme than those of Max Cavalera. Wagner has one of the best voices I've ever heard for extreme metal, he just sounds so aggressive and evil and I like his extreme falsetto even if he doesn't use it so often.

On Rotting the band moves between death, black and thrash metal, always pushing the envelope on how extreme a metal band can be. Rotting is lending a little more towards thrash compared to their debut I.N.R.I..

The production is a little cleaner and the band has developed a bit as musicians. Rotting begins with some strange moaning in the intro The Lust, then Alcoholic Coma delivers some ultra-speedy riffs combined with some blast beat drumming. The standard is set high instantly and even if some of the songs are long and speedy they feel diverse and there is never a dull moment here. The band takes down the tempo a bit in the last track Nightmare that has a few almost doom like riffs, before we're back to the blast beats again.

People point at Possessed, Slayer, Venom, Kreator, Death, Bathory and all kinds of bands but they often forget about Sarcófago in terms of importance for the growth of the extreme metal genres. But the murdered Euronymous of Mayhem listened a lot to Sarcófago and they latered started the whole Norwegian black metal movement, Rotting is a remarkably shocking, relentless, grotesque, dirty, deranged and wicked piece of work. 

⭐⭐⭐⭐

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SARCOFAGO - I.N.R.I. (1987)

Sarcofago was started by former Sepultura-vocalist Wagner 'Antichrist Lamonier after his departure from Sepultura. It was evident that he wanted to go in an even more extreme direction with his Sarcofago because I.N.R.I. was the next step when it comes to aggression. It lended ideas from Hellhammer, Sodom, Bathory, Venom and Possessed and took it perhaps even furter.

With corpse paint, spikes and leather they looked like Venom on steroids.

The same can be said about their music. It was incredibly intense. The intensive use of blastbeats was revolutionary, the dirty guitars and with blasphemous lyrics. Tracks like Nightmare, I.N.R.I., Deathrash and Satanas proves my point.

I.N.R.I. was highly influental and it more or less ignited the second wave of Black Metal and inspired Scandinavian bands like Darkthrone, Beherit and Mayhem. Still their bassist Gerald 'Incubus' considers this to be a death metal album. Whatever you'll call this, the album had an intensity that unheard of prior to this release.

On later releases Sarcofago tuned down the black metal sound and became a more traditional death / thrash band. This album might be too intense for some thrash fans but it's status as a classic extreme metal album is undeniable. But at the same time it will please fans of early Sodom, Bathory, Possessed and Hellhammer. I.N.R.I. might very well be the most extreme album I've reviewed.

⭐⭐⭐⭐⭐

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SAVATAGE - STREETS (1991)

Streets is the culmination of everything Savatage had been building toward. Critics praise it for its narrative depth, emotional weight, and musical sophistication. It’s not just a concept album, it’s a full‑blown rock opera with recurring motifs, character arcs, and theatrical structure.

Jon Oliva delivers the performance of his life, tortured, soulful, explosive. Criss Oliva’s guitar work is equally praised for its elegance and emotional precision.

Tracks like "Jesus Saves", "Tonight He Grins Again", "Ghost in the Ruins", "If I Go Away" and "Believe" are considered some of the most powerful songs in the band’s catalog.

This type of rock opera styled heavy metal can be off-putting to some but the sheer quality of their work and musicianship is just hard to resist. So I'll suggest that you give it a chance because Streets is a great album. 

⭐⭐⭐⭐

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SAVATAGE - GUTTER BALLET (1989)

Critics adore Gutter Ballet for it's ambition. This is where the band began blending metal with orchestral elements, piano‑driven ballads, and narrative storytelling. It’s the blueprint for everything they would later do with Streets and eventually Trans‑Siberian Orchestra.

The title track is universally praised, A soaring, emotional, cinematic masterpiece that critics often call one of the greatest metal songs ever written. "When the Crowds Are Gone" is another highlight, a heartbreaking ballad that showcases Jon Oliva’s emotional range.

But the album still hits hard: "Hounds", The Unholy" and "Thorazine Shuffle" remind critics that Savatage never abandoned their metal roots.

This is the album where they became something bigger than a metal band, It attracted non metal fans as well without compromizing with their metal roots. Highly recommended!

⭐⭐⭐⭐⭐

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SAVATAGE - HALL OF THE MOUNTAIN KING (1987)

This is the album where Savatage became Savatage. Critics universally praise it as the moment the band fused their raw power with full‑blown theatrical ambition. The production is massive, the songwriting is razor‑sharp, and the performances are electrifying.

Criss Oliva’s guitar work is often described as "otherworldly", blending classical phrasing with blistering metal aggression. Jon Oliva delivers one of the most iconic vocal performances of the era, snarling, screaming, crooning, commanding.

Tracks like "Hall of the Mountain King", "24 Hrs Ago", "Beyond the Doors of the Dark" and "Legions" are considered essential metal classics. Not only for Savatage but for the whole heavy metal genre. Critics often compare the album to a metal opera without the pretension, dramatic, but never bloated.

This is the album that put Savatage on the map as innovators and frankly this is one of the best albums ever made. What an incredible comeback from the rather ill-recieved Fight For The Rock.

⭐⭐⭐⭐⭐

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SAVATAGE - FIGHT FOR THE ROCK (1986)

This is Savatage's most infamous release, and critics have always been brutally honest about it. Forced by the label into a more commercial direction, Savatage delivered an album that feels conflicted, uneven, and at times completely disconnected from their identity.

Reviewers often describe it as "Savatage in a straitjacket", The performances are solid, but the material lacks the fire, drama, and darkness that defined their earlier work. Even the band has openly disowned it.

Still, critics acknowledge a few bright spots: Criss Oliva’s guitar work is always compelling, and Jon Oliva’s voice can make even mediocre material sound dangerous. But overall, this is widely considered the low point of their career.

⭐⭐

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SAVATAGE - THE DUNGEONS ARE CALLING (1984)

Critics see The Dungeons Are Calling as a deepening of the Siren's concept. It takes everything Sirens established and drags it into a more claustrophobic, feverish space. The production is thicker, the riffs sharper, and the atmosphere far more oppressive.

Criss Oliva’s guitar work is the standout, more neoclassical bite, more tension, more menace. Jon Oliva sounds unhinged in a controlled, theatrical way, channeling paranoia and desperation rather than just raw aggression.

Tracks like "The Dungeons Are Calling" and "City Beneath the Surface" show a band leaning harder into darkness and drama without losing their street‑metal grit.

Short, focused, and volatile, The Dungeons Are Calling EP was an incredible EP that 

laid the groundwork for a band that was about to become stars on the American heavy metal scene.

⭐⭐⭐⭐⭐

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SAVATAGE - SIRENS (1983)

After about five years in the underground as Avatar, This Florida based band adopted the name Savatage and released the album Sirens in 1983.

Critics have always treated Sirens as one of the most distinctive debuts of the early ’80s. While most American metal bands were chasing British trends, Savatage arrived with something stranger, darker, and more theatrical. Jon Oliva’s voice is the centerpiece, a feral, operatic snarl that critics often describe as “half banshee, half Shakespearean villain.”

The production is gritty, the riffs are sharp, and the atmosphere is drenched in urban menace. Tracks like "Sirens", "Holocaust" and "Rage" show a band that already understood drama as a weapon. Critics praise the album’s ability to fuse traditional metal energy with a sense of storytelling that would later define their career.

Siren's is not polished, but it’s powerful. A strong debut.

⭐⭐⭐⭐⭐

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SAXON - CRUSADER (1984)
Crusader is where Saxon’s attempt to break the American market by following in of Def Leppard's footsteps (Pyromania). Why the American market was so incredibly important that bands were willing to switch their sound around is for me a bit crazy. The change here is obvious and therefor Crusader is a divisive record amongst Saxon fans.

The title track is a grand, cinematic epic that stands among their very best work, but much of the album leans into a smoother, more radio‑friendly sound. "A Little Bit of What You Fancy" and "Sailing to America" show the band experimenting with lighter textures, while "Bad Boys (Like to Rock ’n’ Roll)" taps into a more straightforward hard‑rock vibe. For me, Crusader is uneven at best, it's really just one incredible track and the rest is just filler material and for me, one great track just doesn't save the album. The ambition might be admirable even when the execution wavers.

⭐⭐

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SAXON - POWER & THE GLORY (1983)

With Power & the Glory, Saxon aim for a bigger, more American‑friendly sound without abandoning their roots. The production is slicker, the riffs are heavier, and the songwriting leans toward arena metal. Drummer Pete Gill had also left the band and he was replaced by Nigel Glockler, So his driving drums might be the reason for the slight change in the bands sound.

The title track is a monster, a slow‑burning, riff‑driven anthem that still crushes live. "This Town Rocks"and "Redline" keep the energy high, while "The Eagle Has Landed" introduces a more dramatic, atmospheric side of the band. It’s a transitional album, but one of their best, showing Saxon evolving without losing their identity.

⭐⭐⭐⭐⭐

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SAXON - DENIM AND LEATHER (1981)

Denim and Leather is Saxon’s love letter to the fans and the culture that birthed them. The title track is an anthem for the entire NWOBHM movement, but the album goes deeper than nostalgia.

"Princess of the Night", "Never Surrender" and "And the Bands Played On" show a band writing sharper hooks and bigger choruses without losing their grit.

The last one being the perfect song to sit down in the grass at a festival, drinking some not so cold beers and just enjoying life. 

The production is cleaner than before, giving the songs more punch, and Biff’s vocals are at their most charismatic.

It’s the last of their pure NWOBHM records before they started chasing bigger stages and it’s one of their most enduring. Denim and Leather surely brought us all together! 

⭐⭐⭐⭐⭐

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SAXON - STRONG ARM OF THE LAW (1980)

Released the same year as Wheels of Steel, Strong Arm of the Law shows a band on a creative tear. It’s heavier, tighter, and more confident, with a street‑level toughness that sets it apart from their peers. "Heavy Metal Thunder" practically invents speed metal’s attitude, while "Dallas 1 PM" a song about the assassination of John F. Kennedy, shows Saxon’s underrated storytelling chops.

The production is raw but powerful, giving the guitars a gritty bite that suits the material. This is Saxon doubling down on what makes them great. No frills, no filler, just pure working‑class heavy metal delivered with conviction.

⭐⭐⭐⭐⭐

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SAXON - WHEELS OF STEEL (1980)

Wheels of Steel is where it fell in place for Saxon. When they became one of the defining acts of the New Wave of British Heavy Metal. The album strips away the rough edges of their debut and replaces them with lean, road‑hardened riffs and blue‑collar swagger. "Motorcycle Man", "747 (Strangers in the Night)" and the title track is an anthem forged in pure metal.

It's simple, direct, and built for live crowds. Biff Byford’s vocals hit that perfect balance between grit and melody, while the Quinn/Oliver guitar team delivers riffs that feel that are still talked about today some forty years later. It’s not flashy, it’s not complicated, it’s just one of the most honest, hard‑driving metal albums of the era.

⭐⭐⭐⭐⭐

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SENTINEL BEAST - DEPTHS OF DEATH (1986)

Sentinel Beast released their debut album Depths of Death through Metal Blade Records in 1986. What seperated Sentinel Beast from most other Metal Blade releases is the female vocals from Debbie Gunn. They are not particular girly, no they are quite the opposite. Powerful, rabid and commanding.

The music stands on Depths of Death bridges the gap between US Power Metal scene with smaller similarities to bands suchs as Omen, Liege Lord and Brocas Helm and on the other hand they have some resemblence to Flotsam and Jetsam's debut Doomsday for the Deceiver with it's fast guitars and powerful bass.

Speaking of Flotsam and Jetsam, bassist Michael Spencer joined Flotsam and Jetsam in 1987 which led to the breakup of Sentinel Beast. Vocalist Debbie Gunn was later recruited to Znöwhite and Swedish all female thrash group Ice Age.

The music is overall played at a high pace, with tons of cool riffs and melodic leads. Songs like Depths of Death, Mourir and Corpse shows the bands potential, the band also covers Iron Maiden's old classic Phantom of the Opera and it's performed even faster than the original. Sentinel Beast definitely had something going but the band was eaten by bigger bands and that's life I guess. If you're a fan of anything from Omen to Nasty Savage or Znöwhite you should give Sentinel Beast a chance because they were a real competent band. The album should be easy to find since Marquee Records reissued the album in 2015.

⭐⭐⭐⭐

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SEPULTURA - MACHINE MESSIAH (2017)

With Chaos A.D. and Roots Sepultura left their thrash metal roots and became a groove / Nu-Metal band. Some fans claim that Sepultura has lost their charm and direction when the Cavalera Brothers left the band some twenty years ago. I'm definitely one of those who think Sepultura lost their way. But Andreas Kisser and Paulo Jr. has kept the band going despite the divided fanbase. Now in 2017 Sepultura is back with yet another album, this time on the Nuclear Blast label.

Machine Messiah was released in January of 2017, the album is kind of majestic thanks to the orchestration with the added strings and brass instruments, this feels like the natural continuation of Roots and Chaos A.D.. It's still a lot of that heaviness the band adopted in the mid nineties, but I think Machine Messiah is slightly better and more experimental and almost proggy at times, the band brings some interesting solos and songwriting is for once quite interesting. But the vocals by Derrick Green is still a decompressed mess and some of the hardcore grooves on Machine Messiah are nothing but boring.

I still think that this is a small step in the right direction, maybe because Jens Bogren's production has cleared up some of the mess. But Machine Messiah is not just an album filled with slow bruisers, They mix it up pretty well on Machine Messiah. This is the most interesting album Sepultura has released since the mid nineties. But don't go and expect a new Beneath the Remains or Arise. 

⭐⭐

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SEPULTURA - ROORBACK (2003)

I usually listens to an album at least three times when I review them but most times I've been spinning the albums for days, this was impossible to do with Roorback, because that would have been the same treatment as those Guantanamo-prisoners had to live through. 

Unbearable noise for days, What a nightmare. A nightmare is what Roorback is, or roorcrap as I prefer to call it. Personally I think that Sepultura has fucked up their career just about as much as Metallica have done lately, without going in the same footsteps. This is about as horrible as a St.Anger, a Risk, a Volume 8: The Threat is Real or a Diabolus In Musica. It's that bad.

On Roorcrap Sepul-turd delivers massive grinding so called-riffs, with aggro-vocals from Derrick Green. who screams like retard with a temper-tantrum. I don't understand why they kept the Sepultura-name when they sound completely different from the Sepultura that people love. Their are peeing on their legacy by releasing Nu-Metal / Groove under a name that once stood for something. It's sad but I guess that Sepultura makes some bucks by sharing their fans with Slipknot and Korn. A disgrace...

❌

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SEPULTURA - NATION (2001)

Sepulturd's latest rap metal assault is a disgrace to all that metal is and ever was. This album must be on the list of the top ten worst album's recorded by a thrash metal band with Metallica's Lulu and St.Anger, Megadeth's Risk and a few other lousy albums.

This is brainless aggression and riffs that a five year old can create after taking a few guitar lessons. Ultra downtuned sluggish guitars and compressed vocals that makes Derrick Green sound like Cher on steroids. Sepultura should have disbanded after Arise and they would be legends of metal. Now they are almost as pathetic as Metallica.

You can hear Slipknot, System of a down and similar bands in Sepultura's music. It's sad that one of the most talented and original thrash metal bands of the 80's turned sour and became one of the biggest jokes in metal music. Avoid this album at all cost! I hope I never will listen to this musical turd again. Skip! 

❌

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SEPULTURA - AGAINST (1998)

Between Roots and the release of Against, the Sepultura frontman Max Cavalera decided to leave the sinking ship. But Sepultura decided to continue and in came Derrick Green who is in my ears a decent vocalist. The change ain't that big at all, I think that they sing in a similar way. People who liked Roots and Chaos A.D. will recognize themselves on Against.

It has the same downtuned slow riffs and atonal guitarmelodies and the tribal theme is as strong as ever before. But somehow they have managed to turn too modern in their sound, it's kind of aggro groove metal-stained. And out of nowhere comes Jason Newsted (Metallica, Voivod, Flotsam and Jetsam, Ozzy) in and handles the bass, no don't worry Paulo Jr. is still in the picture. And I'm sorry to say that Sepultura joins the company of most great thrash bands, they went down the wrong lane and became some kind of Groove metal-band Against is their worst release.  

⭐

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SEPULTURA - ROOTS (1996)

One thing about Roots that I have never understood is why the heck it's so popular. Roots is a shitty album. It's the last album with Max Cavalera but Sepultura doesn't suck today because he left, Sepultura went south after Arise when they started to go experimental. The mixture of tribal percussion, harsh hardcore yelling, groove-laced riffs, jumpdafuckup rhythms, and tough-guy attitude culminates in one of the worst assaults on the ears ever created. It's such a bad combination of the worst nu-metal posturing and least appealing type of metal aggression.

Roots was recorded in an era when thrash metal was uncool and rap metal was the thing the kids enjoyed. It's sad to see a great band like Sepultura turn into a shit. The music is noisy and the production is pure 100% crap. Even the "hitsongs" Roots Bloody Roots, Ratamahatta and Attitude are mediocre attempts. There are even some turntable scratching on Roots, way to go there Sepultura...

Roots influenced bands like Slipknot and Korn and that would be reason enough to ban this stinking piece of shit. Roots is a too long, super repetitive, ridiculously boring, and pathetically retarded musical product.  

❌

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SEPULTURA - CHAOS A.D. (1993)

After building a momentum and respect from the metal community with albums like Schizophrenia, Beneath the Remains and Arise, Sepultura felt that thrash metal was a sinking ship and decided to go in another direction instead of recording a Arise part 2. On Chaos A.D. Sepultura drew influences from industrial music but they also added some weird brazilian tribe drums. But the major difference from Arise is that most of the speed is gone and it's replaced with heavier parts.

This is the Brazilians fifth full-length release and I quite like this album as it was one of the very first thrash metal albums I bought back around '93 when it was released. songs like Refuse/Resist, Territory, Propaganda & Biotech is Godzilla are great and heavy tunes, the song Kaiowas is a tribute to a Brazilian tribe, an very odd song with acoustic guitars and djungle-drums.

This album was produced by Andy Wallace and was released in 1993 by Roadrunner Records. Sepultura might never be the same again but Chaos A.D. ain't a total failure like some of their more recent material. Chaos A.D. is still a quite wellmade album even if it has some industrial overtones. Chaos A.D. together with Roots from 1996 is today seen as the album that helped inspire the NU-metal bands of the nineties. Which is a pretty sad thing but Chaos A.D. still got a few songs worth listening to.

⭐⭐⭐

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SEPULTURA - ARISE (1991)

Sepultura are one of those few bands that just keeps improving over the years, and on Arise they reached their zenith. Their popularity grew steady and they surely delivered beyond all our expectations. Arise itself is a more polished version of Beneath the remains. Down to the core thrash metal with no djungle drums for sure.

This was Sepulturas last "true" thrash metal album. Sure Max Cavalera was still in the band a bit after this release but Sepulturas straight forwardness did fade. The record company did often label Sepulturas music as death metal but Arise is nothing more than pure thrash, fans of Sadus, Kreator, Sodom, Possessed, Slayer, etc can't be anything than fully satisfied with this record.

An all over great album, absolutely no complaints at all. The three first songs on Arise will hammer down the unbelievers, three of Sepulturas finest moments in a row, it can't go wrong! The rest of the album are just terrific. Arise is of the most important thrash metal albums of the whole nineties.  

⭐⭐⭐⭐⭐

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SEPULTURA - BENEATH THE REMAINS (1989)

After their chaotic two first albums Sepultura decided to go for a more pure thrash metal sound. That resulted first in Schizophrenia and later in the blockbuster Beneath the remains which was released in 1989. Just years before the samba-boys left the thrash got lost in the djungle or something. I personally think that Beneath the remains are Sepultura's finest moment.

Songs like Beneath the remains, Inner self, Mass hypnosis and Stronger than hate leaves no one unmoved. The tempochanges really makes this album to what it is, it's never boring, not too much of anything, it's perfected. I'm no bigger fan of Max Cavalera's barking lowpitched vocals but I think that you better give Sepultura and Beneath the remains a chance even though.

The sound is clear and the musicianship is truly great, just listen to the arrangements, that's what thrash is all about! So don't let their early death metal tendencies or their experimental 90's fool you. Beneath the remains is a pure thrash metal album of the finest brand. Sepultura's peak!   

⭐⭐⭐⭐⭐

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SEPULTURA - SCHIZOPHRENIA (1987)

When people discuss Sepultura they often say that they like one out of three periods. The first group loves the raw lo-fi sound of Bestial Devestation and Morbid Visions, the other group are the general thrash fanatics that ranks Beneath the remains and Arise as Sepultura's peak. The third loves the brazilian tribal-influences on Chaos A.D. and Roots. But only a few have even given Schizophrenia a chance and that's a shame because Schizophrenia is top 3 in their catalogue if you ask me.

On Schizophrenia Sepultura took giant leaps, they toned down the Black Metal sound for a more technical Death / Thrash sound. What made it possible was the fact that the bands guitarist Jairo T. left the band and in came the Pestilence shredder Andreas Kisser. Andreas really brought the bands guitarwork to another level. So Sepultura dumped the satanic lyrics and the music evolved into a more standardized death / thrash sound. They took almost a similar route to what Kreator or Sodom did, the black metal was brushed away for a more majestic and technical thrash sound with a better and much more professional production.

I must also mention the song From The Past Comes The Storms, which rolls in like a tornado, a highly violent track and a somewhat forgotten masterpiece. Later Schizophrenia releases also includes a re-recording of the old Sepul-classic Troops of doom. The 1987 Sepultura release Schizophrenia might never get the recognition of Arise or Chaos A.D., but damnit if not Schizophrenia is the best album. 

⭐⭐⭐⭐⭐

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SEPULTURA - MORBID VISIONS (1986)

It's simplistic, primitive, barbaric, repetitive, sloppily played, it has a lots of reverb, it's underproduced and the snare drum sounds plastic but damnit I love Morbid Visions. What the band lacked in musicianship they showed strength in speed, aggression and originality. Sepultura was a groundbreaking band at the time and definitely one of the main contributors to the birth of death metal together with bands like Kreator, Sodom, Bathory, Celtic Frost/Hellhammer and similar.

Morbid Visions might not be their most known era, but it's one of their best and most important albums. I prefer Morbid Visions any day to anything Sepultura has recorded for the last twenty years. This album is just so brutal, heavy, dark and sinister. Songs like Morbid Visions and Troops of Doom are magnificent. The last one is one of my favourite Sepultura tracks of all time (and one of the first thrash metal songs I've learned to play on my guitar.) It you want technical brilliance, this is not for you, but are you into some dark and evil metal. Morbid Visions is definitely for you. 

⭐⭐⭐⭐

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SEPULTURA - BESTIAL DEVASTATION (1985)

Originally released as a split album with Overdose in 1985 but it was released again as a stand-alone EP in 1990. Fans of early Sodom, Bathory or Hellhammer would enjoy this because this is Raaawwwww and Eeeeviiiiiilllll.

There are some serious and hilarious death metal tendencies on this EP, like the cookie monster intro of "The Curse". The barking vocals by Max Cavalera has lots of reverb and the production is charmingly unprofessional. This is about as low-budget and raw as they come. In 1985 there were only a handful of bands that played as aggressive as Sepultura. Bestial Devastation is a historically important album as it was one of the first in the field of early death/thrash from the nation of samba and football and for that it needs some recognition.

Sepultura later evolved as musicians and their studio budget went through the roof when they signed up with Roadrunner Records but this is where it all started, on the most important label in Brazil, Cogumelo. Bestial Devastation is a brute, evil and simply horrifying album that shocked the few who originally laid their hands on this split. But don't go and expect a Beneath the Remains or something here because the band was not there yet but this EP has tons of old school charm.

A fun story about the album is the song Antichrist, a song that was co-penned by Sepultura's former vocalist Wagner 'Antichrist' LaMounier who formed Sarcófago after leaving Sepultura. Bestial Devastation is a classic and an extremely important album for the growth of extreme metal in Brazil and South America. 

⭐⭐⭐⭐

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SHAH - BEWARE (1989)

Valeri Gaina of Russian Speed metal-band Kruiz took Shah under his wings and he produced their debut-album Beware. But Shah was different from most other Russian thrash bands as they wrote their material in English and their style wouldn't be too out of place around the Bay Area of San Francisco.

I get some strong Megadeth vibes, especially from their So Far, So Good, So What-album. I'm not saying that Beware is a copy or replica, it just has a similar dry tone and production. Especially if you forget about Antonio Garcia's vocals while doing the comparison. Antonio Garcia doesn't just sing he is a talented guitarist, he delivers some amazing stellar guitarwork which at times reminds me of Mike Sifringer's work in Destruction. Fans of Exodus will also like Beware by Shah. Shah surely delivers some Frantic straight-forward thrash of a high standard here on their debut-album. Songs like Save the Human Race and Age of Dismay really shows how talented Shah was.

But Beware has it's flaws too, the vocals are average at best, They sound a bit like a more controlled and less aggressive Paul Baloff. He has a Russian accent even if the guy does his best at singing in English. The production is also somewhat thin. But as I see it Shah's debut is one of the ten best thrash metal albums to come out of Russia. It's that competent, some people here in the west might be unaware of how many talented band's Russia spawned in the eighties. So stop being ignorant and go out there and look for Beware by Shah. 

⭐⭐⭐⭐

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SIEGES EVEN - LIFE CYCLE (1988)

Sieges Even started their careers with releasing this LP called "Life Cycle". It was released in 1988 and it's quite different from the rest of their catalogue. Today Sieges Even is most known as a progressive metal band. But here on their debut they play Progressive thrash metal. The band was formed by the brothers Alexander and Oliver Holzwarth both has later been involved in bands like Rhapsody and Blind Guardian. The music on "Life Cycle" is challenging technical/progressive metal.

The album is very similar in sound and style to tech metal pioneers Watchtower´s debut album "Energetic Diassembly" from 1985. If you enjoy that album chances are you will enjoy this one too. The album features lots of great prog metal tracks with high pitched clean vocals but there are more straight forward thrashy material on the album too. "Apocalyptic Disposition" is an example of that. The 12:28 minutes long "Straggler from Atlantis" is an example of the more progressive part of the band´s sound. The song "The Roads to Iliad" has some real massive riffs.

The songwriting is in general a bit too progressive for me at times and the vocals by Franz Herde might not be considered as a top vocalist in the genre, but that's a minor issue. The musicians are really skilled, that's what seperates Sieges Even from most other bands, they all handle their instruments well. Life Cycle by Sieges Even is without a doubt their best and I think that it's one of the best progressive thrash metal albums out there. 

⭐⭐⭐⭐

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SINDROME - RESURRECTION: THE COMPLETE COLLECTION (2016)

Sindrome from Highland Park outside Chicago was one of those great band that could have been stars of the genre but instead after just releasing two demos the band disappeared from the radar and as the years passed the once so talented band fell deep into obscurity. But now almost thirty years later, out of nowhere we're standing here with the very first official Sindrome release titled Resurrection the Complete Collection.

Which is exactly what it sounds like, their complete back catalogue, fully remastered. The release includes every track from Into the Halls of Extermination, Vault of Inner Conscience as well as a live show from 1988 while supporting death metal pioneers Death.

The band realized that they recorded a sixth unreleased song during the Into the Halls sessions called "Brought to the End" and that track is included here.

The second CD with the live recordings are of the unpolished side but I can understand why they wanted it to be a part of the release as it is a complete collection. I would say that the raisins in this cake is definitely on the first CD. Just listen to first couple of tracks, Into the Halls of Extermination, Precognition, Rapture in Blood and Cathedral of Ice, that's material that are up there with the best works of Dark Angel, Sadus, Pestilence and Demolition Hammer. Sindrome is of the same aggressive breed, and just as talented as the aforementioned bands.

The production is also surprisingly good, one must remember that the original tracks are taken from an 80's demotape, yet it all sounds just about perfect after the songs have been remastered.

Recently I did an interview with Sindrome's vocalist Troy Dixler and he was excited that Sindrome will finally will be released worldwide through Century Media Records.

Even if there is really no new material to speak of here it's great to have the opportunity to get them on CD or Vinyl. I can't think of a band that needed to be released more on vinyl and CD than Sindrome, especially when Ulysses Siren got the same treatment a few years ago. This is some face-melting, neck-snapping, spine-wrecking, bone-crunching, head-crushing, ass-kicking, skull-fracturing, gut-wrenching and mind-blowing thrash that every fan of the genre needs to hear. 

⭐⭐⭐⭐

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SKYCLAD - THE WAYWARD SONS OF MOTHER EARTH (1991)

When Martin Walkyier left Sabbat he formed Skyclad together with Graeme English and Steve Ramsey of NWOBHM-legends Satan and later Pariah. They hired drummer Keith Baxter and the quartet named themselves Skyclad. During their career they carved themselves into the history books of metal because they were the originators of the folk metal-genre. But here on their debut Skyclad still has a lot in common with good ol' Sabbat.

The sound on this album is still based very much in the thrash genre but with occacional flute and acoustic guitar parts. Only on the track The Widdershins Jig you'll get the feeling of being in Santa's workshop with dwarfs and hobbits running around your feet. Which in some cases can be the feeling when listening to a folk metal-album. But one track doesn't spoil a great album. Because The Wayward Sons of Mother Earth is simply a brilliant album.

With razorsharp production and crafty songwriting Skyclad surely delivers on all levels here on their debut album. Skyclad was before their time here and as a creation this album probably deserves more then four stars. But I chose to keep the rating on the low-side because this is not the purest form of thrash metal. Still I would probably rank this as one of UK's ten best thrash metal albums of all time and without hearing much of Skyclad's later material this is probably their peak as well. 

⭐⭐⭐⭐

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SLAMMER - NIGHTMARE SCENARIO (1991) (Review by: Per-Ola Nilsson)

Slammer X - or just Slammer, have it your way - had to wait until 1991 to unleash the follow up to their promising debut "The Work of Idle Hands". With the release of "Nightmare Scenario" the band moved to the small label Heavy Metal Records and the album was to be the final chapter in the short saga of this english thrash band.

Listening to "Nightmare Scenario" it's not really hard to understand why. The style is the same as on the debut - melodic but yet angry thrash metal in true british fashion - but they don't sound half as hungry or motivated as on the debut. They sure are riffing and thrashing allright, but the spirit just isn't there. However, "Every Breath" and "Just Another Massacre" are two good songs and british thrash is made for listening and banging to. Just don't expect another "The Work of Idle Hands". And, if you have to choose, aim for the debut album. 

⭐⭐

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SLAMMER - THE WORK OF IDLE HANDS (1989) (Review by: Per-Ola Nilsson)

Slammer X (sometimes only called Slammer) was a very typical band to pop out in 1989, when their debut  "The Work of Idle Hands" was released. Due to the extreme exposure of thrash metal  at the time, they never made it big. 

They were british and sound british. I've always thought that the british thrash scene (D.A.M., Toranaga and so on) had a sound of it's own which is kind of hard to explain. Similar to the bay area sound, but yet different. The debut album of Slammer X is a competent one and though long since out of print, thrash maniacs will find lots of pleasure here. Raging, melodic thrash metal with lots of intense riffing and catchy hooks.

"Tenement Zone", "Johnny's Home" and "Hellbound" are three great tracks, showing the potential of this shortlived unit. "The Work of Idle Hands" is definetely checking out for thrash completists. Especially for those of you who are into british thrash. Hey, maybe Slammer X didn't intend to change the world and didn't do so either, but they delivered a great brand of the music we love and they deserve to be remembered for that.  

⭐⭐⭐

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SLAUGHTER - STRAPPADO (1987) 

Strappado was an album that came from nowhere. It was the debut album of a Canadian thrash band called Slaughter. Not to be confused with the Glam band with the same name. No these guys were from Toronto and they delivered real intense thrash that was bordering to Death Metal. You can hear a lot of Celtic Frost / Hellhammer in Slaughter, including Tom G Warrior's trademarked grunt. But Slaughter's music were much more punk than the early works of Celtic Frost.

They have a few Celtic Frost-inspired riffs but overall they perform their music pretty fast, I would guess that they were probably listening a lot to Discharge when they wrote this album. Slaughter were one of those bands that fused thrash and hardcore without really being referred to as a crossover band. Strappado is not a very technical album, but they make up for that with pummeling brutality. The album is one of those dirty, ugly and raw albums that few people can handle these days.

The band doesn't try to make things pretty here, it's simplistic, brutal and very honest music Slaughter delivers here on Strappado. The guitar tone is extremely dry which makes the album sound even older than it is. But at the same time this type of music were pretty rare in 1987, especially in Canada, you couldn't find heavier music than this in Canada in 1987. Speaking of Canada, Strappado reminds me a bit of  Infernäl Mäjesty's None Shall Defy, but this is way less technical, but both albums have the same heaviness and the vocals are grueling.

Slaughter inspired a few bands that followed but for me Slaughter's name should be used high regards, but unfortunately the band folded after just releasing one album, instead of carving a career. Now we're left with just one album, but what an album it was.  

⭐⭐⭐⭐

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SLAYER - REPENTLESS (2016) 

Slayer need no introduction. They've been impacting the genre heavily since day one. Now more than 30 years later it's still a big happening in the metal community every time Slayer releases an album.

It's been six years since the rather anonymous World Painted Blood ended up the record shelves (or should I say became available for download and streaming?) and the iconic Jeff Hanneman is no longer with us. So this is the first Slayer album not to feature the blonde guitar god. In swooped another legend; Gary Holt from Exodus, but let's not forget that Dave Lombardo also has left and in came a familiar face in Paul Bostaph.

So Is there life after Hanneman?

Both yes and no, to be honest this doesn't sound so far away from what the band delivered when Jeff was still on the band, I'm especially thinking of their last two albums Christ Illusion and War Painted Blood. I think that fans that were hoping for a new Reign in Blood could never be satisfied with or without Hanneman in the band, it's just different times these days and things are done differently and legendary groundbreaking albums are hardly releasd by any band these days.

If we compare Repentless to the old Slayer albums I would say that it is most reminding me of the sound that the band had on 1990's Seasons In The Abyss, because of the Dead Skin Mask-like melodies. But this album is a bit more modern around the edges, especially in the somewhat dry guitar tone.

The main problem I have with the album (except from the phony title) is how mundane the songwriting is. Some songs are good but Repentless never feels great. The band often goes back to the down-tuned sluggish territory the band has experimented with ever since the release of Diabolus in Musica, add to that some Gothenburg styled melo-riffs here and there. Tom Araya sings aggressively as always to the point that it gets stale. It feels more like he sings because it's his job rather than his passion.

There has been many hard words in this review but compared to the other big four Slayer and Megadeth still has some respect amongst thrash metal fans. Their status and legacy is what makes Slayer relevant today, I still think they can lure young kids into the beautiful realm of thrash metal. But for us longtime fans, Repentless isn't even close to reaching the standard that we hope for in a Slayer album. Sadly, In a few weeks this album will probably end up somewhere in the back of my collection never to be played again...  

⭐⭐

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SLAYER - WORLD PAINTED BLOOD (2009) 

World Painted Blood was Slayer's last album with the original quartet of Araya, King, Hanneman and Lombardo. Because of Hanneman's death. You get what you might have expected on World painted blood. This is a continuation of what Slayer did on Christ Illusion, in fact the albums are quite similar in style and performance. There are a few vibes from the glorious past, The guitarsolos are screaming and the drumming is intense. It's quite good thrash metal at times but the killer Slayer tracks are nowhere to be found.

The production of this album is mediocre, it's the typical modern over-compressed bullshit. At least Tom Araya's vocals aren't too bad like they was a few years ago, he doesn't scream every time he opens his mouth, which I prefer strongly. The album is at times good but the production spoils the show and the album feels somewhat uninspiring. It just hasn't got the intensity and ferociousness of the early classics. I guess that the title track "World Painted Blood" and "Public Display of Dismemberment" are the closest thing to greatess on this record. As said before, Slayer delivers what you might expect, a fairly good album.  

⭐⭐

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SLAYER - CHRIST ILLUSION (2006) 

Dave Lombardo is back in the Slayer-ranks for the first time since 1990's Seasons in the abyss and by watching the artwork by longtime collaborator Larry Carroll and the old Slayer-logo on the cover (at least on some releases). You get the idea that Slayer tries to find their roots instead of trying to be a Slipknot-clone. The album has unfortunately that modern over-compressed sound, otherwise Christ Illusion might have been a strong comeback to form. But one thing is for sure, this album is better than the terrible God hates us all and Diabolus in Musica.

Slayer were at the crossroads before recording this album, searching for their roots or continue in the monotonous sludge that their last albums have displayed and on Christ Illusion we end up somewhere in the middle. Sometimes it feels like youre back in the 80's but the next moment you're back in the awful Diabolus in Musica-sump. The production is awful but Slayer doesn't do their job either. It's great to have Dave Lombardo back though, he does a fine job bashing those drums.

The controversial song Jihad has it's moments but the album doesn't reach the glory days when it comes to songwriting or the lyrics. Or what about this incredible Shakespearean line; "I hate the shit economy, It might as well be sodomy." It must have taken Slayer ages to come up with such thoughtful lyrics. Christ Illusion is Slayer's best album in twelve years, but it might as well be sodomy. 

⭐⭐

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SLAYER - GOD HATES US ALL (2001)

Aggression, Aggression, Aggression. God hates us all is filled with it. Especially when it comes to Tom Araya's vocals. He screams and shouts for 50 minuts. It gets tiring to say the least. I can understand that God hates us all are popular for some fans. The fans who loves hardcore and angry music without no real sense of musicianship at all. It's just heavy, the old reging Slayer-solos are counted on one hand.

This is modern stuff a little to close to that awful Slipknot sound. I've heard people call this their St.Anger but I wouldn't go that far, this album is a little bit better. God hates us all was released on 9/11 2001 the same day as the two planes crashed into the world trade center-buildings. So "God Hates Us All" didn't get that much attention from day one. The songs Disciple and Bloodline are quite allright. I think Slayer need's to go back to the drawing table and perhaps listen to some their old albums instead of Slipknot and Pantera. This album is just a mess.  

⭐

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SLAYER - DIABOLUS IN MUSICA (1998)

The small steps towards a new sound started on Divine Intervention and on Diabolus in Musica Slayer takes a another step towards a modern metal sound. The Slipknot / System of a down-sound can be heard clearly on Diabolus in Musica and I think it's a shame. 

Embarrassing talkative vocals, lifeless slamming riffs, spoken words over the music, muddy down-tuning, compressed production, it's all there. Maybe the album would sound better if it wasn't so horribly produced. Diabolus In Musica is what comes to mind when the term "Brainless modern mallcore" is discussed. This was the start of the modern Slayer, with a new "horror movie"-logo and updated Slipknot costume. The first of many lousy Slayer-albums to come. Not my cup of tea. But perhaps a few modern rockers out there can enjoy this album.  

❌

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SLAYER - UNDISPUTED ATTITUDE (1996)

Slayer recorded a punk/hardcore cover album with a Slayer-touch to it in 1996. To salute the influence those bands had on Slayer's music, this is not some kind of Green Day type of punk, thank god!, The original songs where made by bands like; Minor Threat, Doctor Know, Verbal Abuse, T.S.O.L., D.R.I., D.I., Iggy Pop and so on.

The song Gemini is a new Slayer Creation but that song is plain boring. I can't find a song that I like, If youre into the old hardcore and punk scene this might be fun listening to. Or at least it's a decent history lesson for some people out there. But at least Tom Araya's voice is normal and that makes me only miss the older Slayer-days. This is for the true Slayer fans, but not anyway near their best albums. 

⭐

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SLAYER - DIVINE INTERVENTION (1994)

When most other big thrash metal bands started experimenting with grunge rock Slayer stood their ground and released a dark thrash metal record and I do respect them for sticking to what they do best. (at least for this release) Before going into the studio drummer Dave Lombardo left Slayer and in came Paul Bostaph (Forbidden & Testament).

He does a great job on the drums trying to fill the boots of the godfather of double bass drums. The drums are more audible on this album but the album lacks a little in the production, I think Tom Araya's vocals are mixed a bit low and sometimes it feels like Slayer plays the songs on autopilot. It's not their most inspiring moment. But compared to what Slayer has done lately Divine Intervention is a good thrash album from a time when nobody was interested in playing music like this. Three out of five stars!  

⭐⭐⭐

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SLAYER - SEASONS IN THE ABYSS (1990)

After a long string of successful albums in the 80's, the 90's arrived and changed the musical landscape, but Slayer wasn't finished as a band yet. In 1990 Slayer dropped their fifth studio album, through Def Jam.

This album has everything you might expect from Slayer. It's quality right through the whole album, like a continuation of what the band did on their last record South of Heaven, Seasons in the Abyss is a bit more fluid with some fresh thinking, Seasons in the Abyss is also slower and has this almost haunting feeling over it. The album is produced by Rick Rubin like on their two latest records and his influence can really be heard throughout the album, the cleanliness, the focus on the drums and even Tom Araya sings a bit different.

The highlights of "Seasons" are War Ensemble, Blood red, Expendable Youth, Skeletons of Society and Seasons in the Abyss. The band made a music video for the song Seasons in the abyss. Dead Skin Mask is also worth noticing, since it's one of the most popular tracks from the album and it's a strange creation with childrens vocals in it. I think that Slayer struggled a bit post-Reign in Blood, they knew they couldn't top the album, and instead they made some minor changes to their sound.

It almost sounds like another band compared to the pre-Reign in Blood era. Seasons In The Abyss might not be my favourite Slayer album but I still think of it as one of the twenty best albums of the whole decade. 

⭐⭐⭐⭐

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SLAYER - SOUTH OF HEAVEN (1988)

To make a follow-up to the masterpiece Reign in blood ain't easy, the expectations on Slayer were extremely high, some fans got disappointed, others loved the less aggressive South in Heaven, In my opinion this is a great album, but something is missing. The album seems so much more controlled and less wild and aggressive, especially Tom Araya's singing are far less commanding and he feels a bit uninspired on this album. The album has a lot of fine songwriting though, songs like Silent scream, South of heaven, Live Undead & Ghosts of war but the whole album feels a bit too clean, I prefer the gritty and rough thrash the band displayed on while being signed to Metal Blade records.

Slayer's fourth studio album lacked that speed and aggression and perhaps also the right production. Compared to their first three groundbreaking records this is the first time we've seen other bands catching up and passing tem by in terms of aggression. There's a slower grinding feel on South of Heaven, still thrash, but the focus is less on speed and agression and more towards big riffs and heaviness. Slayer recorded a Judas Priest cover called Dissident Aggressor from their classic 1977-album Sin After Sin, But I still prefer the original compared to this rather lazy version.

It might seem like I really dislike South of Heaven which I don't. I think it's

amongst the 20 best thrash albums of 1988, but that's not the level we're used to getting when buying Slayer records, but a smaller setback was predictable after three such legendary albums. I still think South of Heaven is quite an essential album for both Slayer and thrash fans. 

⭐⭐⭐⭐

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SLAYER - REIGN IN BLOOD (1986)

The legendary status that this album has accumulated surpasses everything the genre ever produced before and since then. The album starts with "Angel of death" and finishes in thunder and heavy rain in "Raining blood", that really says it all. Reign in blood was groundbreaking at the time, it was so aggressive with those fast and screaming solos, the commanding drums and those psychopatic screams by Tom Araya.

The production was top notch, so clear and professional that one might think the album was produced thirty years later. Just compare it with an album like Sodom's Obsessed By Cruelty and this production sounds so much better. The album was produced by none other than the demon producer Rick Rubin who perhaps is the worlds most respected record producer.

The songs are fast and ferocious and most songs are under three minutes long, the album itself is clocking in under 30 minutes. Dave Lombardos drumming is magnificent. The album was criticised for dealing with subjects around the cruelty of the second world war without condoning it. But who cares, thrash should be a little offensive for the weak minded, it's not like they are nazis anyhow.

Most people seems to agree with the fact that Reign in Blood is the band's best album and a game changer within the field of thrash metal.

If you missed out in this jewel you must have been living under a rock or something. Wheter you prefer their unpolished earlier recordings or not, this is as essential as it gets. 

⭐⭐⭐⭐⭐

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SLAYER - HELL AWAITS (1985)

Slayer's Hell awaits is one of the most classic thrash metal albums of all time, it was released in 1985 by Metal Blade records. And this album is one of Slayer's best moments as I see it. Some people prefer more recent Slayer, but I strongly recommend the pre- "Reign in blood"-era. The songs are a bit too similar to each other. I love the title-track, one of Slayer's best songs, other great tracks are "At dawn they sleep", "Necrophiliac" & Hardening of the arteries".

This Album sold over 100.000 copies without no real promotion. There was a minor revolt against the Hell awaits-album because of the title, the lyrics and the burning bodies on the frontcover. This album featured time changes and complexed arrangements without compromising with the speed. On Hell Awaits Slayer showed their true potential, Show no mercy they had its moments, Haunting the chapel was too short but Hell awaits got it all. All the classic Slayer-elements are included, the shrieking guitarlicks, Tom Araya's abyss-screams and Dave Lombardo's precise and relentless drumming. Hell no longer awaits!  

⭐⭐⭐⭐⭐

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SLAYER - HAUNTING THE CHAPEL (1984)

The second thing Slayer ever released was the Haunting the Chapel Ep, it was released in 1984 between the releases of Show no Mercy (1983) and Hell Awaits (1985). Some people think that this Metal Blade-era of Slayer is the bands best and I am one of those people who prefers slayer pre-Reign in Blood works. Production-wise Slayers sound was dirtier in the beginning and Haunting the Chapel Ep is one of the best thrash metal EPs of all time. Both in importance and in quality.

The song Chemical warfare is a Slayer-classic that still today have a place in their live-gigs, one of their better songs overall as I see it. This EP is often forgotten when everybody talks about Slayer's best efforts, maybe because of being "just an EP". But all three songs are great and the fourth song Aggressive Perfector is great too, but it was only included in later re-releases. Four or five great songs extra and this album would have been a masterpiece of Hell Awaits-standard, Don't skip this one, this is a essential piece of Slayer's history and thrash metal in general. As said before, this is one of the best EP's of all time.  

⭐⭐⭐⭐⭐

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SLAYER - SHOW NO MERCY (1983)

Most thrashers around the globe strangely enough doesn't agree with me when I'm saying that Show no mercy is Slayer's magnum opus but I think that it has the overall strongest songs. Just listen to the satanic vibes of Evil Has No Boundaries, the quirky riffs of The Antichrist or the pummeling and distinct drumming on Black Magic.

Most people claim Reign in Blood to be their definite work but I just love the violent and unapologetic attitude of Show No Mercy, just listen to it's production. Not many albums can bring out such a powerful sound and the album is just filled with killer riffs and Tom Araya sounds like the antichrist personified. I especially like Lombardo's resolute drumming and Tom Araya's falsetto screams and the overall raw and dirty sound the band managed to create here.

Sure the album isn't as clean as their late eighties work but the somewhat childish naivity of Show No Mercy is more charming than any crisp super production. Worth saying is that Slayer broke some serious grounds by releasing this album back in 1983, some claim that bands like Exodus, Metallica, Venom and Mercyful Fate was ahead of their time in the early eighties but Slayer's Show No Mercy can definitely claim to be the most horrific album that the world had heard in 1983. Slayer took the ideas of playing fast from Metallica, a band that they had seen live prior to the release of Show No Mercy, they also lended ideas from both Venom and Mercyful Fate.

The album had it's critics for being satanic and vulgar in every way but that only helped to create a hype around the band that still lives on until today.

Show no mercy was one of a few releases that set the standard for many years to come. Slayer developed into a more technical and tight band over the years, but the nasty charm of this 1983 monster shouldn't be ignored, neither should it's importance. Venom ruled the earth up until 1983, it was the year when Slayer overtook the spot as the worlds most dangerous group.  

⭐⭐⭐⭐⭐

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SLAYER - SHOW NO MERCY (1983) (Review by: Per-Ola Nilsson)

Metallica’s debut-annihilation is often considered to be the first true piece of thrash metal. However, one should also remember that another one of the big four - namely Slayer - debuted in 1983, with this record. While "Show No Mercy" is not as full blown and intense as "Kill ’em All", it is darker and more evil sounding.

The quartet had yet to develop into the thrash monster they would eventually become, peaking with "Reign in Blood" in 1986. What we get here is actually fairly melodic thrash compared to, say, the early works of Metallica or Exodus. However, "Evil Has no Boundaries" and "Fight Till Death" attacks with furiosity and "Die by the Sword" with pumping riffs in the vein of Testament. And who could avoid being enchanted by the moody piece called "Metalstorm/Face the Slayer"? While not being a milestone in terms of quality - this is still thrash metal history, and a fine album too, from one of the most influential bands in the field. 

⭐⭐⭐

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S.O.D. - BIGGER THAN THE DEVIL (1999) (Review by: Mikael Vedin)

In 1985 one of the most legendary albums of all time was released. Of course it's S.O.D.'s Speak English or Die. I'm talking about. It was an astounding mix of thrash, hardcore and speedmetal. Fourteen years after that album the stormtroopers got back with this album, Bigger Than the Devil. The cover really says it all. A parody of Iron Maiden's classic Number of the Beast, with Sergeant D posing as Eddie.

The music and lyrics on this album pretty much follows the concept of the first album. They are dealing with sensitive matters like the overpopulation of the earth, world hunger and drugs in their own, not so sensitive way. Some of the better tracks includes "Make Room, Make Room", the awesome "Shenanigans", "Bigger than the Devil" and "Free Dirty Needles". I just love the humour of this band. "The Song That Don't go Fast" is a song that go fast. In "Celtic Frosted Flakes" they wonder what the heck happened to Celtic Frost, maybe they got lost in the pandemonium? Who knows? They also have a more subtle side with some ballads...

Don't get fooled though, the lyrics consists of a mere You're Dead! A really cool album all together. It seems as this will also be their last considering Billy Milano has said that he will never work with Scott and Charlie again. Well, I guess we'll just have to wait and see what happens. 

⭐⭐⭐

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S.O.D. - SPEAK ENGLISH OR DIE (1985)

S.O.D. was formed by the three Anthrax-members Scott Ian, Dan Lilker and Charlie Benante. They recruited vocalist Billy Milano and thus S.O.D. was born. Speak English or die was released back in 1985 as a side-project to Scott Ian to explore his punk/hardcore ideas. The album contains 21 songs, most of them are really short a typical hardcore fashion. The Stormtroopers of Death likes to make songs that are about five seconds long, half of the album is just a joke. Which is often the point with Crossover albums but I want my music to lean more towards the more serious metal genre than the

sarcastic fun-loving punk genre.

At times the album gets me annoyed. Especially the song "What's that noise?", that sounds like your old vinyl-player are about to break down. But fortunately there are some great songs on the album as well The intro "March of the S.O.D." is a great intro. Milano Mosh, Speak english or Die, Freddy Kreuger, Pussywhipped are all great songs. And let's not forget about the United forces track with it's strong shouting backup vocals.

The album has a lot of chunky and heavy riffs by Scott Ian. Speak English or Die is a classic that is till remembered amongst hardcore and thrash fans now thirty years after it was released. Often it's referred to as one of the greatest Crossover albums of all time and who am I to disagree. Can you do the Milano mosh?   

⭐⭐⭐⭐

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SODOM - DECISION DAY (2016)

If you are searching for an album that breaks new ground and ventures into experimental musical realms, you're in the wrong place pal, because Sodom is the most consistent band in thrash metal. Their new album Decision Day is their fifteenth studio album, Decision Day is what you we have come to expect from Sodom, brutish teutonic war-themed thrash metal of the highest quality.

There aren't any new additions to their style to speak of but at times the melodic riffage combined with German brutality reminds me a bit of Sami Yli-Sirniö's era (Modern day) of Kreator, so expect a slightly more refined and melodic sound here compared to their last two albums Epitome of Torture and In War and Pieces. I really like the production and the sound the album has, but a few of the songs are just too uninteresting to give the album the top rating, but otherwise I'm pretty into this new Decision Day disc. The album starts with a couple of strong tracks like In Retribution, Rolling Thunder, Decision Day and Caligula then Sodom goes into mid-tampo on the track Strange Lost World, but overall the album is more of the uptempo kind. The primitive lyrics doesn't make that much sense upon reading them, but Thomas 'Angelripper' Such barks 'em out effectively.

2016 has been a real strong year in thrash and Sodom has given us another reason to remember this year as one of the best years on this side of the millennium. Decision Day might not be a new In the Sign of Evil, Agent Orange or even a M-16, but I think the album holds the same quality as the bands last couple of records; Sodom, In War and Pieces and Epitome of Torture. I guess that if I would have written the review for this album before hearing the album it would be about the same as it is now after spinning the album a few times. You'll know what you'll get from a Sodom album before listening to it, but that's Sodom's strength, their unbudging consistency.  

⭐⭐⭐

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SODOM - EPITOME OF TORTURE (2013)

Sodom is a band that needs no introduction really. They are as old as the genre and with Sodom you'll know what you get prior to the release of each new album. Sodom's fourteenth studio album is as you have guessed another powerful teutonic thrash offering. It's massive, thunderous and dark.

This album is also the first with their new drummer Markus 'Makka' Freiwald who replaces Bobby Schottkowski who has been in the band since the mid nineties. Makka delivers some solid drumming so the band doesn't really lose anything in that department. The lyrics are what to expect, it's another disc with a lot of war songs. You wonder if Sodom writes their own lyrics when Tom Angelripper badly mispronounces “epitome".

I like the first couple of songs on the album, My Final Bullet, S.O.D.O.M., Epitome of Torture and Stigmatized. But after that the quality drops a bit and the album doesn't deliver more than average thrash. Epitome of Torture hardly disappoints but on the other hand I don't think that it will be the favourite album for many Sodomites out there. 

⭐⭐⭐

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SODOM - IN WAR AND PIECES (2010)

Sodom's 13th studio-album is a continuation of... well everything that Sodom is. They never strayed far from the path and "In War and Pieces" is exactly what you might have guessed, another brutal war-inflicted thrasher with all Sodom's characteristics. The rumbling vocals from Thomas Such aka Tom Angelripper, the war-lyrics, Knarrenheinz on the album cover and of course some heavy and brutal thrash metal, add to that the tightness from a lineup that has been intact since 1997.

"In War and Pieces" feels more like the natural follow-up to M-16 and Code Red than their self-titled Sodom-record from 2006. This album less noisy and it is more structured than the Sodom-album. But the songwriting doesn't reach the same heights as it did ten years ago. The album has a few filler-tracks but the album starts out with "In War and Pieces" which is a heavy thrasher with a memorable chorus. I like "Through Toxic Veins" a song that opens up with a few Mercyful Fate-like riffs. Even Sodom's mascot Knarrenheinz gets a song in his name. If you buy the CD-digipack you'll get a bonus-CD that includes 10 live tracks recorded 2007, during the Wacken-festival. The album is also available for download and on vinyl, any way you want it.

I have never been fully disappointed with any of Sodom's thirteen albums. Except for a little dip in the mid nineties. So you'll know that every time you'll buy an album with the Sodom-logo on, you're in for a treat.  

⭐⭐⭐

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SODOM - THE FINAL SIGN OF EVIL (2007)

Re-recording classic albums and parts of the back catalogue has been a boring trend in thrash metal lately. Testament, Anthrax, Destruction and Exodus has all tried doing it without any bigger success. This is a re-recording of Sodom's 1984 EP called "In The Sign Of Evil". Sodom has also added a bunch of tracks they wrote back then that was never released. There was five tracks on that EP so there is seven "new" songs here.

First of all the production sounds really old school but yet superior to that heard on the original. Tom Angelripper has also called in Grave Violator and Chris Witchhunter who played on the "In the sign of Evil"-EP just for this release. Drummer Chris Witchhunter sadly died one year after releasing this album. Not to speak ill of the dead here but the drumming is kind of off and unprofessional. Sodom's songs were less technical back then and more evil sounding. Most old school fans are a bit allergic to re-recorded material, but when there are a bunch of "new" songs included it's not the same.

The fact that Sodom didn't update the sound to be of the modern day is admirable. Re-recording old hits can be a double-edged sword and a few of the old songs doesn't stand the test of time but Sodom has captured the essence of what was exciting with "In The Sign of Evil". I chose to see this album as a celebration of their past and a salute to Chris Witchhunter instead as a new album with all the expectations that comes along releasing a new album. 

R.I.P. Christian Dudek aka Chris Witchhunter.

⭐⭐

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SODOM - SODOM (2006)

Not many bands releases their self-titled album 30 years into their careers but Tom Angelripper and company seems to think that this album is worthy of the Sodom-title. When I first listened to it I thought it was incredibly noisy and Tom Angelripper's voice almost drowns in all the noise.

It's quite different from Sodom's last two albums "Code Red" and "M-16" which both got favourable reviews. It's more violent, noisier and even more melodic as Bernemann throws in a few unexpected melodies. The album started to grow on me after the initial chock. The production is allright except from the over-distorted guitars. Tom's voice is aggressive and distinct but he seldom uses his lower register, like he did back in the days so his singing gets a little repetitive here.

The drumming by Bobby Schottkowski is good but the Tom's bass is turned a bit low. The bulk of this album is mid-paced, heavy, noisy and muddy riff with strong emphasis on Angelripper's vocals. By the way, Where the heck is Knarrenheinz? Sodom's mascot who they usually have on all their artwork. He must be fumbling around in the dark somewhere, I guess. Now it might sound like I'm using the chainsaw on this album but that's not the case, this wasn't what I've had expected but I really think that Sodom delivers another strong album with this self-titled monster. Maybe not reaching the same heights as on "M-16" but this is far from bad. Hail the lords of depravity! 

⭐⭐⭐

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SODOM - M-16 (2001)

After releasing a few not so popular discs in the 90's there were people that wondered if Sodom still could deliver some magic like they did in the eighties with Persecution Mania and Agent Orange. We had our hopes up after the rather good Code Red But none could have imagined what an impact M-16 would have. M-16 struck down on the thrash community like a bomb.

After about ten years of rather average thrash albums, M-16 took Sodom's thrash to a whole new level, a level that Sodom perfected with those albums. Sure we saw some tendencies towards greatness on their last two albums but Sodom delivers on another level here. M-16 is their best effort since 1992's Tapping the vein, or even surpassing that one. Napalm in the morning, M-16 and Marines have impressed me with catchy choruses but Sodom still remains super heavy.

The band focuses on the Vietnam war here and Sodom seems to deliver their best material when focusing on war. The old german thrash guard have been re-awaken lately now when Kreator, Destruction and of course mighty Sodom have released their best work in since the heydays of thrash. M-16 is not sounding too modern even though it is a 2001 release. Sodomites must definitely look up this album as it is one of their best albums ever. A modern classic.   

⭐⭐⭐⭐⭐

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SODOM - CODE RED (1999)

After three albums ("'Til Death Do Us Unite", "Masquerade in Blood" and "Get What You Deserve".) with mixed reviews, Tom Angelripper and Sodom understood that the band needed a slight change of direction and in 1999 Code Red was released upon us starving thrash fans. Code Red was return to their roots, it's a highly lethal and violent album. the hardcore and punk-flirting is totally gone here and the album has a mean and modern production, without sounding like some cheesy Gothenburg death metal band.

Tom Angelrippers harsh and raspy voice fits the music like a glove. We can also hear a few Slayer-inspired riffs and leads here. After almost a decade since the big thrash wave things started moving again and the interest for thrash metal grew steadily maybe because the three german thrash giants all released their best material in years. I think that the three leading German bands had a lot to do with the recent thrash revival.

Overall, I prefer this album to the previous 'Til Death Do Us Unite; it has fewer flaws and less boring parts. Everything is moving in a more extreme direction here, and that’s not an insignificant thing. I think that Code Red is their most vital album since 1992's Tapping The Vein. 

⭐⭐⭐⭐

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SODOM - 'TIL DEATH DO US UNITE (1997)

1997, Thrash metal was absolutely dead but Sodom didn't care about trends. They released a fast thrash album almost bordering to crossover thrash in style. The album was quite controversial with the nudity on the album cover and the lyrics from the song Fuck The Police. Their big hit, which they also recorded a video for.

Qualitywise this wasn't Sodom's best album, it must be considered as highly average in their back catalogue. Don't get me wrong, It's not a bad album, it's just so average in performance. But still it was better than what most other bands were doing at the time so Sodom has nothing to be ashamed of. The album has a few strong tracks, but it also has a few stinkers on it. "Suicidal Justice", "No Way Out" and "Sow the Seeds of Discord" are blistering thrashers.

Sodom keeps covering strange pop and rock artists and this time it's Paul Simon's A Hazy Shade of Winter. I don't know if I ever heard the original but the cover is somewhat catchy and punky. I wonder why they named the album 'Til death do us unite as it's one of the worst songs on the album. To summarize it all I will say that 'Til Death Do Us Unite is Sodom's best album since 1992's Tapping the Vein. So check it out if youre curious of what Sodom did in the nineties. 

⭐⭐⭐

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SODOM - MASQUERADE IN BLOOD (1995)

Thrash metal was dead and buried years ago but a band from Gelsenkirchen didn't care what anybody thought, Sodom kept thrash metal alive when all other bands moved on or disbanded.

In 1995 Sodom released Masquerade in Blood. Whatever you might think of Sodom you must respect them for sticking to what they do best. I would call "Masquerade in Blood" a continuation of the "Get what you deserve"-sound. The album is fast and noisy and the production is somewhat thin.

I would go so far and say that this is Sodom's weakest album to date together with the earlier mentioned "Get what you deserve". But compared to what bands like Anthrax, Megadeth, Kreator and Metallica were doing, this is pure gold. Sodom defied the music industry and went their own way even if the mid nineties Sodom was the bands weakest period it's still noisy and violent thrash metal. This is Motörhead on steroids with a thick german accent, you got to love it!  

⭐⭐

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SODOM - GET WHAT YOU DESERVE (1994)

In a time when nobody else played thrash metal Sodom kept going. Unfortunately for all the Sodom-fans out there, the band failed to deliver. Sodom displays a sheer unpolished noise at full speed but it all drowns in distortion and musicwise this sounds almost like a hardcore punk-album with a touch of Motörhead-noise. Most songs are only two minutes long, there are sixteen songs on this 44 minute long album, so it's full speed ahead. They couldn't have spend much money on the production of this album, it sounds and feels like an 80's demotape.

The songwriting on Get what you deserve are not up to the standard we're used to. Sure there are a few good tracks on it like "Jabba the Hut" and "Sodomized", but the whole production is so thin so the finishing product ain't as good as what it could have been. I'm sorry to say this but Get what you deserve is the weakest Sodom-release so far even if it's a decent record.  

⭐⭐

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SODOM - TAPPING THE VEIN (1992)

On 1990's Better Off Dead Sodom showed signs of slowing down but they brushed those ideas off quickly and on 1992's Tapping the Vein, This album might just be the heaviest thing Sodom ever released. The album got the intensity of Persecution Mania and the roughness of Obsessed by Cruelty.

Tapping the Vein is a big revenge for the somewhat lackluster “Better Off Dead”, that was a bit of a letdown, but the band recovered quickly and came back with a vengeance in forging “Tapping the Vein”, an album considered by many to be one of their best efforts to date. There are no covers on this album and no silly stuff and absolutely no stopsigns. Tapping the Vein is is a violation of your ears, but in a good way. Sodom keeps the tempo up and slashes and thrashes everything that comes in their way.

Tapping the Vein is so, so brutal, it's almost death metal at times. Tapping the Vein was also Sodom's last recordings with Chris Witchhunter, he left shortly after recording this record and he later passed away in 2008 due to Liver failure. His drumming was always a recognizable thing in Sodom's sound. If you're looking for some uncompromisable and brutal 90's thrash you should definitely check out Sodom's best album during the nineties; Tapping the Vein. 

⭐⭐⭐⭐

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SODOM - THE SAW IS THE LAW (1991)

One year after the release of Better Off Dead this EP was released. It's practically two songs from that album, The Saw is the law and Tarred and feathered. The first one is remixed and has a lot of chainsaw sounds in it now. It's a funny mid-tempo song with a chorus where Tom Angelripper keeps on shouting that "The Saw is the law!".  Perfect for those heavy metal parties with your friends and a bunch of beers. The second song is Tarred and feathered, one of the better songs from the Better Off Dead-LP.

And as always Sodom keeps on recording strange covers, this time it's Bryan Adam's The Kids Wanna Rock. Another kind of funny attempt but it's nothing that I will keep spinning over and over again. This EP is highly uninteresting if you own Better off Dead and if you don't you should get that LP instead. 

⭐⭐

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SODOM - BETTER OFF DEAD (1990)

After a few great releases the 90's have arrived and their neighbours Kreator releases their epic Coma of Souls and Sodom tries to counterattack with Better Off Dead. And in comparison to Coma of Souls, Better Off Dead is rather weak. It's neither on par with earlier Sodom-releases, I think this album is a bit too unfocused and childish at times and not as aggressive as the Sodom we are used to. I guess Sodom didn't take themselves so seriously when they recorded this album, as it's playful and fun at times instead of the evil and raw-spirit of the earlier albums. Don't worry they haven't gone soft though

 Maybe the slight change in direction would be the loss of guitarist Frank Blackfire to none other than the earlier mentioned rivals in Kreator. Frank was replaced by Assassin's axeman Michael Hoffman.

The saw is the law is a strange creation, a mid-tempo song with an almost pop-like chorus where Angelripper repeats The saw is the law over and over again. The next song Turn your head around is a Tank-cover, another song with a repetitive chorus. But that's not the only cover, Cold Sweat is a Thin Lizzy-song, I have no idea why they included that song. But Sodom almost always include one strange song on their albums. But hey, Better off dead ain't a crappy album, it's just a bit inconsistent at times, songs like Shellfire Defense, Better Off Dead, Tarred and feathered are good thrashers.

The album ends on a high note with the punkish Stalinorgel that reminds me a bit of the Sodom classic Bombenhagel. No matter what you think, THE SAW IS THE LAW!!  

⭐⭐⭐

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SODOM - AGENT ORANGE (1989)

When Frank Blackfire joined Sodom the band morphed from a noisy and primitive semi-black metal band to one of the leading european thrash metal bands. The band transformed so much when he came into the band that the bands whole image changed with the releases of Persecution Mania and Agent Orange. Even if he can't get all the credit for the transformation. 

After the release of the 1987's Persecution Mania Sodom went for a more majestic and mature sound here on Agent Orange, it's not just full speed ahead here, Sodom gets into the mid-tempo realm with songs like Remember the Fallen and Magic Dragon. But don't worry there are a bunch of fast thrashers here too, especially Tired and Red, Agent Orange and the punkish Ausgebombt.

Chris Withchunter bombards your ears with his consistent drumming, Frank Blackfire's riffs takes Sodom to a another level and Tom Angelripper sings better than ever before. Add to that a crispy and perfect production by legendary producer Harris John and the result is nothing but magnificent. The main lyrical content on Agent Orange is the cruelties of the Vietnam War. Agent Orange is often considered to be Sodom's finest moment and I have to agree on that. Agent Orange is one the greatest euro thrash albums of the eighties, which means that it's one of the best thrash metal albums of all time. This is actually the best selling German thrash album of ll time. So if you haven't already bought this über-classic, do it now! 

⭐⭐⭐⭐⭐

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SODOM - PERSECUTION MANIA (1987)

One year after the rather noisy Obsessed by Cruelty, Sodom returned with a new guitarist and a brand new sound. Sodom was once known as a noisy and primitive proto black metal band but in 1987 Sodom returned with a more technical sound here on Persecution Mania, much thanks to new guitarist Frank Blackfire's arrival.

It was indeed a great decision to kick Destructor out of the band because Frank Blackfire must be considered as one of the best guitarists in the whole genre, he writes great riffs and his soloing is superior to many lead guitarists in the genre. Persecution Mania really shows a new side of Sodom, the gory and somewhat satanic imagery has been toned down but this is no way near a sellout, no instead they take steps towards a more pure thrash sound here on Persecution Mania.

The album is definitely Sodom's fastest record so far and it was here they started writing thrashing war anthems. If I would make a greatest hits album spanning Sodom's long career I would probably fill half of the album with songs from Persecution Mania. There are so many memorable thrashers here, or what about Nuclear Winter, Bombenhagel, Outbreak of Evil, Christ Passion, Sodomy and Lust and The Conqueror. Indeed a remarkable collection of songs. There aren't many german albums that can compete with Persecution Mania, only the absolute best works of Kreator, Exumer, Tankard and Destruction comes close.

Many songs are delivered at full speed but it never gets boring or stale, I think Tom Angelripper's brutal and excellent vocals are a key to the bands success even if the vocals have a thick German accent. Persecution Mania is one of the best thrash metal albums out there and my personal favourite when it comes to Sodom's catalogue even if Agent Orange is a solid contender, this is as essential as it gets. 

⭐⭐⭐⭐⭐

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SODOM - EXPURSE OF SODOMY (1987)

Expurse of Sodomy was an EP that Sodom released in 1987 prior to the release of Persecution Mania. It was the bands first recordings with their newly recruited guitarist Frank 'Blackfire' Gosdzik. For the first time Sodom has found themselves a remarkable guitarist and in the upcoming years Sodom will record their best material, starting with the EP Expurse of Sodomy. There was also a smaller change in direction by this release. Sodom wanted to drop the Black metal-sound and lyrics and become a more traditional thrash metal group. Their sound matured and became more technical.

The album starts with an absolute Sodom-classic, Sodomy and lust. It leads into an even faster track called The Conqueror. My Atonement starts with a soothing acoustic part that leads into a gallopping part. Most people say that In the sign of evil was their best EP but I disagree. Expurse of Sodomy is Sodom's best EP, maybe Expurse of Sodomy didn't have the cool artwork and it wasn't as groundbreaking as their debut but musicwise there are more quality here. If you can't find this EP you can pick up the CD-reissue of Persecution Mania, which includes the whole EP as bonus tracks. 

⭐⭐⭐⭐⭐

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SODOM - OBSESSED BY CRUELTY (1986)

Two years after Sodom released their debut EP In the sign of evil. This time with a slightly more technical approach but it's still the intense and chaotic Sodom-thrash that we were chocked by back in 1984. But now two years later lots of band caught up with Sodom and this 1986 release feels a bit weak compared to what the other big thrash bands managed to release in 1986.

I've read a review of Obsessed by Cruelty in Metal Forces #19 from 1986. The reviewer completely slaughtered this album, he thought that it was one of the worst thrash albums he had heard. I can agree on some parts like when he says that you can't understand what the vocalist is singing about. Tom Angelripper has a strong german accent, that plus a lowpitched barking type makes it harder for sure.

Sodoms earliest efforts had strong black metal influences. My favourite tracks would be "Deathlike silence", "Equinox" and the title-song "Obsessed by cruelty". For fans of violent raging thrash like Kreator, Sepultura, Slayer or Possessed shown, this Sodom-release would be obvious in the recordshelf. I personally think that this album doesn't match up with "In the sign of evil", "Persecution mania" or "Agent orange". Anyhow this is still an essential album for any thrasher with some self-respect.

⭐⭐⭐

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SODOM - IN THE SIGN OF EVIL (1984)

The very first faltering steps in a long career of frenzied thrash metal begins with this EP named In the sign of evil. This album lacks in lyrics, musicality and production but Sodom makes it up with raw and primitive aggression. The leadguitars are nothing to talk about at all. The lyrics are hilarious and plain stupid, it can be blamed on the bands terrible English. But these lines are rediculous: "My life begins at midnight twelve masturbate to kill myself" & "None can survive, People will destroy, Souls like hell, Where demons make a toy".

Expect no war-theme this time. Sodom where a lot darker in 1984 than what they are today. Take Venom or Hellhammer and spice it up with the speed of early Kreator/Bathory. Then you'll understand what the deal was back in 1984. Tom Angelrippers barking vocals with his typical german accent has been the trademark since this release. And don't get me wrong now, I love this release. I just wanted to warn those weak hearted people that don't appreciate the early days of extreme metal. Songs like "Outbreak of evil", "Blasphemer" and "Witching metal" are truly classics of this genre. Sodom was the darkest and meanest band on the face of the earth in 1984. It can't get more retro than this. Sodoms music were in the sign of evil for sure. 

⭐⭐⭐⭐⭐

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SOOTHSAYER - HAVE A GOOD TIME (1989)

Three years after they recorded the To be a real terrorist-demo it was time for Soothsayer to have their first vinyl released through New Renaissance Records. Despite the odd album-title This album is so intense. With an ever present bass, crunching guitars, remarkable drumming, lunatic vocals and everything is played at a furious tempo. But still the end product doesn't fully reach the brutality of their 1986 demo tape as the vocals feels more in the spaced out Voivod region. 

We end up with an album that is somewhere in the Crossover / Thrash region, but Soothsayer was more technical and metallic band than your usual crossover act. If Soothsayer continued to release records maybe their fate would have been different because they were very talented and influental. Just look at the linen Jürgen 'Ventor' Reil of Kreator wears during their Toxic Trace-video. Yes a Soothsayer-linen and that was even before this album was released. I like Martin Cyr's frenetic riffing and the guitar tone sounds cool.

The album is real intense except for one acoustic track The Game I. Have a Good Time was something like a one hit wonder when it was released but Soothsayer soon became another casualty of the 90's grunge wave. But recently Soothsayer made a surprising comeback and the long awaited sophomore release Troops of Hate was released in 2013. Have a Good Time was quite an album and an album that I do recommend if you're into the punkier side of thrash metal. 

⭐⭐⭐⭐

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SOULLESS - AGONY'S LAMENT (2002) (Review by: Aaron DiDonato)

Listening to this album, it’s clearly shown why Canadian 'zine "Brave Words and Bloody Knuckles" called Soulless’s “The Darkening of Days” the best demo of 1999. I really love “Agony’s Lament”. One thing they did, which I immediately recognized because it’s something I love, is use a pretty subtle yet clever play on words. The name of this album is “Agony’s Lament”, track 2 is “Agonies” and track 3 “Lament”.

I just thought that was pretty cool. This is great thrash in the vein of Sadus or Hypnosia. The first riff played in the first song (“The Bleeding Darkness”) is really catchy but heavy and fast as well. And the drum part they have with it makes it just feel like the band is right there in your living room and right away you feel the need to headbang! Also when it hits the slower part is another really good headbanging or moshing part. The next standout track is the 4th, “The Soulscythe”. Killer, in your face thrash metal. The only problem is there is one “hardcore” type moment on the whole album, and it’s on this track. But it’s not long and soon is over. Those 2 are my favorites. Another great track is “Terror of Twilight”.

The only thing that irritates me about this band is their love for bands like The Haunted and Arch Enemy, that are total crap to my ears. But they also love the old school, and no matter their influences this is still a great album, probably my favorite since Hypnosia’s “Extreme Hatred”. Definitely my favorite album of 2002. 

⭐⭐⭐⭐

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ST. MUCUS -  AM I BLOOD (1996) 

Am I blood was St.Mucus second album out of two before changing their name to Am I Blood. This album was later re-released under Nuclear Blast's wings and with their new band name. The album Am I Blood is more or less a Metallica-rip off and the music is somewhere in the Justice/Black album-region, but of course not even half as good, but some songs are allright like 'Endless Energy'.

What reminds me most of Metallica is the vocalist Janne Kerminen that is a deadringer for James Hetfield, and the ways of playing are almost identical, but one important thing differs them apart. It's the talent of writing great songs, which Am I blood is strongly suffering, and it feels kind of cheap going out and say that they are the continuation of where Metallica left off. I'm a big fan of old metallica and it somehow feels kind of good that their sound lives on in other bands, so musically this album might have deserved three stars, but the whole idea of stealing as much as possible from the band doesn't quite do it for me. Today they have changed their vocalist, but I don't know if they have managed to get their own identity, which certainly is needed. Anyhow Am I blood is a fair release which Metallica fans might spin a couple of times more than the average thrash fan. 

⭐⭐

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STONE - NO ANAESTHESIA! (1989) 

It's time to get stoned once again by some finnish thrash metal. One year has passed since their selftitled debut album. And nothing has changed at all, it's the same tight thrash as shown before. Janne Joutsenniemi's vocals has grown a bit, not much but his effort is better this time. But I have to say that my impression of this disc is not as high as their debut.

A couple of the songs are quite unmemorable while songs like "Back to the stone age", "No anaesthesia" & the heavy shredding in "Light entertainment" proves their strong side. They would perhaps have concidered to release an EP instead. Their sound is in the Canadian thrash band Annihilator-region. With a clear sound and quite ordinary mid-range vocalists and technical and very tight in their delivery. This is finnish thrash metal at it's prime. I suggest that you give 'em a try if you manage to find their albums. 

⭐⭐⭐

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STONE - STONE (1988) 

In 1988 a longhaired quartet from Finland named Stone debuted with a selftitled album. The thing that impresses me is their technical and tight playing and of course their production which is surprisingly clear and proffessional. The only thing to complain about is the unengaging and monotone vocals. Stone's guitarist Roope Latvala has become somewhat of a celebrity these days now when he is participating in the incredibly popular Children of bodom. But in my ears, Stone was a better band than CoB.

Well, Let's have a look at their songs; the intro "Get stoned" is a great thrasher with varied riffs and some fine soloing. The song "Brain Damage" is a killer, superb chorus. The shouting backing vocals are very effective to their Annihilator-type of music. But don't forget that Stone where in the game before or fellow Canadiens. Final Countdown is a Europe-cover. It's even worse than the original but I think that Stone didn't intend to make it great either, just for fun I guess. Without exaggerating a bit, Stone´s debut album will remain as one of the most important metal albums in the history of Finnish metal. Get stoned! 

⭐⭐⭐⭐

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SUICIDAL TENDENCIES - WORLD GONE MAD (2016) 

Suicidal I must admit that I haven't followed their career closely, at least not in more recent years. But I consider myself somewhat a fan of their classic material. Lately the band has been a one man show since vocalist and songwriter Mike Muir is the only original member and has been so for a long while.

What makes World Gone Mad extra special for us thrashers is the arrival of drummer Dave Lombaro (ex-Slayer). The instrumentation on World Gone Mad is great, but there isn't that much of the old school Crossover brutality going on here. World Gone Mad is mainly a Punk Rock record with ambitious musicianship and clean and professional production values. All the traditional Suicidal Tendencies trademarks are here, the funky bass, the bombastic drumming, the punky riffs, tons of guitar solos and of course Mike Muir's charismatic and sensitive voice. Despite being more of a punk record, World Gone Mad is quite a strong effort, with stand-out tracks like Clap Like Ozzy, Get Your Fight On! and One Finger Salute. I have no doubt that World Gone Mad will satisfy most old Suicidal Tendencies fans and even introduce a few young people to the band.  

⭐⭐⭐

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SUICIDAL TENDENCIES - THE ART OF REBELLION (1992) 

Suicidal Tendencies was always into experimentation so it wasn't a big surprise that they would head into another direction when thrash metal's popularity started to fade in the nineties and in 1992 the band released The Art of Rebellion through Epic Records. It was an alternative metal album with funk elements. Not completely different from their thrashing period but we are presented with an album that is less aggressive and unfortunately not as fast as their earlier records.

This is Suicidal's black album if I dare to say so. But hey let's not be so hard on the band, Anthrax, Death Angel, Megadeth, Metallica and a bunch of other bands released similar albums in the early nineties. I get a few Red Hot Chili Peppers-vibes when listening to this funky 90's record. The lyrics on the album are sarcastic and

Mike Muir's vocals are annoyingly weak on the album. There are a few speedy moments like Gotta Kill Captain Stupid but the song just doesn't do it for me personally. I wasn't a fan of the band when the album hit the record stores but I can guess that it made some of the bands rougher fans a bit disappointed. Overall it's kinda catchy but don't go and expect the brilliant crossover band you once knew. This is Suicidal's most mature, melodic and experimental album and that is not always a good thing.   

⭐⭐

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SUICIDAL TENDENCIES - LIGHTS... CAMERA... REVOLUTION! (1990) 

Suicidal Tendencies fourth studio album (if you count Controlled by Hatred as an EP) was released through the major label Epic, and that can be heard throughout Lights...Camera...Revolution!, just like How Will I Laugh Tomorrow this is wellmade and accessible album with a clear and tight production. It was one of Suicidal's most metallic sounding discs so far and it starts with a brilliant Metallica-styled intro, with an acoustic intro with melodic lead guitars that leads into one of Suicidal Tendencies most memorable tracks, You Can't Bring Me Down. Speaking of Metallica, new on this album is a man that would later join Metallica, bassist Robert Trujillo who brings a funkier tone to the Suicidal Camp.

On this album the hardcore ways of the bands youth has almost completely been wiped out for a funkier and chunkier thrash sound, just like a funkier How Will I Laugh Tomorrow. But at the same time Lights...Camera...Revolution! is a very emotional disc. Both thanks to Rocky George weeping leads combined with Cyco Miko's trembling voice. The album reminds me a bit of Anthrax who around the same time experimented a more easygoing vibe than before. Which can be taken as a bit unserious, just listen to the track Lovely for example which is a rather terrible track or the chorus in Send Me Your Money. But the band makes it up with the cool thrasher Disco's Out, Murder's In. The album is varied so it never get's boring either, which only a handful of bands are able to do without losing too much focus.

Lights... Camera... Revolution! is an album that I strongly recommend even if you're a bit afraid of the crossover genre that can be too punkish at times but that is not the feeling you get from this album. Buy or die!  

⭐⭐⭐⭐

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SUICIDAL TENDENCIES - HOW WILL I LAUGH TOMORROW... WHEN I CAN'T EVEN SMILE TODAY (1988) 

Suicidal Tendencies transistion from being a pure hardcore punk band to a metal band was completed here on Suicidal Tendencies third album. It was also the bands first release on a major label (Epic) so How Will I Laugh Tomorrow... can be described as an easier accessible album compared to the brute ways of their first two albums. Not saying that this is some type of weak commercial metal, no it's still full on Suicidal.

How Will I Laught Tomorrow... was also the first album with guitarist Mike Clark and the only album with bassist Bob Heathcote in the lineup. Heathcote was later replaced by none other than future Metallica bassist Robert Trujillo. The guitars here are very metallic and menacing, no punk in them at all and Rocky George and Mike Clark does an incredible job here. Rocky George is an underrestimated guitar hero, he took Suicidal Tendencies from being a noisy punk band and made them into one of the most popular metal bands in the world in just a few years. That's one hell-of-a transition.

The only original member, vocalist Mike Muir also dares to use more emotions in his voice. Especially on the ballad How Will I Laugh Tomorrow. There are no hardcore shouting going on anymore, his voice might be described as weak, but I think he has a very personal and unique voice and I like those bands that you can hear and instantly recognize. The album also has many of Suicidal Tendencies best songs on it, like Trip at the Brain, How Will I Laugh Tomorrow, Suicyco Mania and Surf and Slam.

There were also rumours going around that the band was affiliated with gangs and there was controversy about violence during their gigs, which only helped the bands popularity.

Suicidal Tendencies might have been outsiders in both the punk and metal community but when they make albums like this, then it's hard to resist them. How Will I Laugh Tomorrow might be one odd thrash metal album but it is rightfully regarded as a classic. Skaters and punkers all loved Suicidal Tendencies and now they've conquered thrash metal as well. 

⭐⭐⭐⭐

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SUICIDAL TENDENCIES - JOIN THE ARMY (1987)

Four years and half a lineup later, Suicidal Tendencies returns with the followup to their iconic self-titled debut. This time Mike Muir has recruited drummer R.J. Herrera and guitarist Rocky George. As you might have guessed things are a bit different here. Suicidal Tendencies took steps away from hardcore and more towards a metallic sound here on their sophomore release.

Join the army might have disappointed a few punkers but for fans of thrash and crossover this is perhaps easier to appreciate. Especially as the album is catchier than the debut, Vocalist Mike Muir also sings a little more controlled here, less teenage outbursts. There are a few good tunes here like Suicidal Maniac, Join the Army and the two Suicidal classics War Inside My Head and Possessed to Skate. The later one was made for a skate video that no one remembers today but it became one of Suicidal's biggest hits.

Join the army was an album between two classics, Their groundbreaking debut from 1983 and the highly regarded How Will I laugh Tomorrow which was released in 1988. So maybe people will mostly remember this album as a transitional album, from their punkish beginnings to a more metallic style on later releases. The album is produced by Lester Claypool, and no, it's not the bassist from Blind Illusion.

Join the Army has a few fillers but it has it's moments as well, like those I mentioned earlier. If crossover is your thing, Suicidal Tendencies are as essential as it gets.  

⭐⭐⭐

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SUICIDAL TENDENCIES - SUICIDAL TENDENCIES (1983)

Suicidal Tendencies, one of the best and most influential hardcore bands of all time, what are they doing here on a thrash metal site like this? well, over the years they developed more towards thrash with the arrival of guitarist Rocky George, but that's not all, Suicidal Tendencies was a band that gigged with tons of thrash bands throughout the early eighties up until today. In 1983 things were a bit different, The selftitled Suicidal Tendencies album was released twenty days before Metallica debuted with Kill 'Em All and as you can guess this is an album more in the punk vein than the metallic sounds of the early thrash scene. But whatever you label this album as, it's definitely groundbreaking and legendary in so many ways, but it's not thrash, Early crossover perhaps but I would label their debut as a typical hardcore punk album.

Songs like I Shot Reagan, Subliminal and Institutionalized are still amongst the best songs the band ever wrote even if their careers has spanned over three decades. Metal and punk kids came together as well as skaters and gang bangers, just about everyone that was a loner or misfit around California in the eighties seemed to look for comfort in Suicidal Tendencies brutal ways. In 1983 you could hardly find music that were more frantic and aggressive than this. The songs were short, fast and Mike Muir was a total psycho at the microphone, screaming his angst towards American politics. Taking sides with the misfits, the criminals and the disenfranchised youth of America.

As a hardcore album this is as great as they come, a titan of an album and the start of the whole crossover genre. But for a more regular thrash crowd this might very well be too punky to handle. But who cares, All I wanted was a Pepsi... 

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