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WARFARE - PURE FILTH (1984)

In the early to mid eighties the New Wave of British Heavy Metal phenomenon was the thing that dominated the British Islands. But there were also a bands that arrived between 1983-1985 that had a punkier and filthier sound, I'm thinking of bands like Sacrilege, English Dogs, Atomkraft, Onslaught, Blood Money and of course Shildon's own Warfare. Those bands took the ideas of Motörhead, Tank and Venom and mixed it with some hardcore punk a la Discharge and GBH.

Warfare adopted a raw and filthy style, kind of similar to what Venom or Tank was doing at the time. Worth noting is that both Warfare and Venom were signed to the legendary N.W.O.B.H.M. label Neat.

Pure Filth was the bands full-length debut and even though Warfare was one of the first bands in England to play this type of raw punkish speed metal they were not original enough to have the same effect on the metal community as some of the earlier mentioned bands. Especially when bands like Slayer, Celtic Frost and Metallica already had taken metal into a heavier direction.

So for some thrash fans this could be a little weak, but if you're a fan of Tank, Motörhead and Venom you should definitely look up Pure Filth by Warfare. The album is produced by none other than Tank's Algy Ward so Warfare had the right connections. But the song-writing is a bit stale and unoriginal, The repetitive drumming has it's charm but gets a bit tedious after a while. All in all, Pure Filth is somewhat enjoyable even if it's more or less a Venom ripoff.  

⭐⭐⭐

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WARGASM - WHY PLAY AROUND? (1988)

I first listened to this album 10-15 years ago and I thought that Wargasm was a solid band and now when I'm finally reviewing it I still think it holds up quite well. Especially the guitars by Rich Spillberg is something to look out for. The guitar-tone sounds like a chainsaw and I mean it in a positive way.

The guitar is certainly in the forefront on Wargasm's debut album. But it get's a little repetitive when the riffs seems to go round and round in circles. The album has a good late eighties production but vocalist Bob Mayo sounds a little bit too mundane. He should be more assertive in his approach, especially when Rich's guitar is so intense and crunchy. I can dig vocalists that go for a more clear voice but I don't think Bob Mayo's delivery is of the highest class, He sounds rather average actually. The album has a few eerie moments but mostly it's just straightforward blistering riffs that keeps coming in an endless stream.

Wargasm didn't change the world with their thrash and maybe they didn't intend to do so either. Why Play Around? was a quite cool album and if you come across it you should pick it up but at the same time it is not an album that you will stay awake figuring out how the hell you can lay your hands on it. I think it's above average but still not completely intriguing either.   

⭐⭐⭐

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WARLORD - DELIVER US (1983)

Critics have always treated Deliver Us as one of the most quietly revolutionary releases of the early ’80s. While the British bands of the era were pushing speed and aggression, Warlord went in the opposite direction: atmosphere, drama, and mythic scale. The production is strangely intimate, almost fragile but that fragility is part of its mystique. It sounds like a band performing in a candlelit chamber, deep inside a dungeon and not in a studio.

Bill J. 'Destroyer' Tsamis’ guitar work is the centerpiece. Critics consistently praise his ability to blend neoclassical phrasing with emotional weight. Not flashy for the sake of it, but melodic in a way that feels ancient, ceremonial, almost sacred. His riffs don’t gallop; they ascend. They feel like staircases to some forgotten temple.

"Deliver Us From Evil” is such a triumphant track, it's one of my all-time favourite metal songs actually and tracks like "Child of the Damned" and "Winter Tears" are repeatedly singled out as early masterpieces of American epic metal. The vocals, courtesy of Jack 'Damien King I' Rucker have that theatrical, almost bard‑like quality with a lot of vulnerability and emotion behind it. The vocals are soft in an ethereal way. Reviewers often say that Deliver Us sounds like it came from a parallel timeline where metal evolved from medieval hymns instead of blues. It’s haunting, heroic, and completely unique. I love it! 

⭐⭐⭐⭐⭐

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WARRANT - THE ENFORCER (1985)

This is not the famous glam band that wrote the horribly cheesy Cherry Pie, no this is the German Warrant, a typical Kraut-metal band in the veins of Accept with a dose of Rage, Grave Digger, Tyran Pace, Running Wild and Living Death.

Warrant captures the mid eighties speed metal sound perfectly because The Enforcer is a catchy and memorable debut album even if it at times feels a bit banal compared to some of the other German bands. Warrant were one of those bands that were on the verge of being considered thrash metal but Warrant had not adopted the aggressive ways of bands like Kreator, Destruction and Sodom. No Warrant is more of the power / speed metal tradition that also were popular in Germany, but not as prominent in for the extreme metal fan. Yet fans of old school Metallica around Kill 'Em All will probably dig Warrant's debut offering even if the album had a more German sound, just not the typical German sound.

Warrant brings lot's of chugga-chugga riffs with blazing yet melodic solos combined with a rhythm section that keeps it all together nicely. The vocals by Jörg Juraschek is clean with occasional shrieking outbursts.

The Enforcer by Warrant is a solid speed metal release, I especially like the bands faster tracks, when the band slows down it feels more like your generic 80's metal. The Rack and the title track The Enforcer are two songs worth hearing. Worth noting is that Nuns Have No Fun is not a Mercyful Fate cover. The songs just happen to share the same name.

Just look at the top three rows in the column next to the artwork and that should be enough information for you to know that The Enforcer is a good album, Germany, 1985 and Noise Records is a combination that always excites and delivers. 

⭐⭐⭐⭐

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W.A.S.P. - THE LAST COMMAND (1985)
After the explosive debut, WASP set out to make a strong follow-up and here we have it, it's called "The Last Command" and it's a continuation of what they did on their self-titled debut from the year before. Blackie and the band took what they did on their debut and brushed up and tightened the sound.

The production is cleaner, the hooks sharper, and the performances more focused. Blackie’s songwriting takes a noticeable leap forward. More melodic, better structured, but still dripping with grit.

“Wild Child” is universally praised as one of the greatest metal singles of the decade. A soaring, cinematic anthem that critics compare to the best of Dio and KISS in terms of emotional sweep. "Blind in Texas" shows the band’s swagger, while "Cries in the Night" hints at the darker, more introspective direction Blackie would later explore. Speaking of Blackie Lawless, He is one of the best vocalists in in the metal genre. His voice is so unique and instantly recognizable. He has some sorf of rasp mixed with smoothness, It shouldn't make sense but when you listen to him it does.

Reviewers often highlight how the album balances accessibility with aggression. It’s polished, but not neutered. Commercial, but not compromised. It might not fully live up to the debut in sheer over the top metal antics but The Last Command is a greast listen.

⭐⭐⭐⭐

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W.A.S.P. - W.A.S.P. (1984)
Critics have always treated W.A.S.P.’s debut as the moment the Sunset Strip stopped being glamorous and started getting dangerous. While Mötley Crüe flirted with darkness, W.A.S.P. scared the heck out of your old parents. The album is a snarling cocktail of glam hooks, heavy‑metal muscle, and theatrical menace. A sound that critics would describe as "KISS with a flame thrower" or a saw attached to your crotch to be more specific.

Blackie Lawless dominates the record. His voice is a serrated roar, equal parts street‑punk and heavy metal showman, and critics consistently praise how he sells every line with absolute conviction. Chris Holmes’ guitar tone is another highlight, thick, mean, and dripping with attitude.

Tracks like "I Wanna Be Somebody", "L.O.V.E. Machine" and "School Daze" became instant anthems, but critics often point to deeper cuts like "Sleeping (In the Fire)" as proof that W.A.S.P. were more than shock value. Beneath the blood and theatrics was a band with real songwriting chops.

It's easy for the common true metal fan to brush off W.A.S.P. as just some sort of triviality but that's far from the truth. W.A.S.P.'s debut remains one of the strongest first albums of the entire ’80s metal wave. It's a masterpiece so don't let the glammed up facade scare you away from this band.  

⭐⭐⭐⭐⭐

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WATCHTOWER - CONTROL AND RESISTANCE (1989)

Three years after the groundbreaking release of Energetic Disassembly Watchtower is back with some modification. Jason McMaster and Billy White has left the ship and in comes Alan Tecchio and Ron Jarzombek. When half the band leaves the sound usually changes, but Watchtower has made a great effort to keep their winning style, although this album might not be as wild as the debut. But for those who liked the debut must check out Control and resistence too. Watchtower displays great instrumental skills and this album is as often labeled progressive as it's labeled thrash.

It's fast and the music is edgy due to the overtechnical playing, almost funky. The vocals are high and Alan Tecchio uses his falsetto as often as possible and it's indeed a good voice he possesses, even if the falsettos might be too much for the weakhearted as he almost never sings with a normal key. But don't get scared now, because Control and Resistence is a great album with it's twisted guitarplay and wonderful basswork by Doug Keyser.

If you like your metal technical and thinks that a band like Venom are total posers this is the deal for you, cause Watchtower are the total opposite. Tighter musicians you have to look for, can't imagine how much time they must have spent in their rehearsal room. Fans of late eighties Voivod, Heathen, Hades, Realm, Sieges Even and Artillery will probably find great pleasure in spinning this disc. 

⭐⭐⭐⭐⭐

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WATCHTOWER - ENERGETIC DISASSEMBLY (1985)

Well, where do I start?, this album is progressive thrash album, chaotic and well executed, if you look up the word "complicated" in a dictionary, you'll probably find a picture of this album.

A pioneering band and a wild album, furios soloing and a rhythm section out of this world, I can still remember when I've heard this disc for the very first time, and I was just stunned. 

This album was released back in 1985 and it more or less created a new genre progressive thrash metal, I usually have been drawn towards fast and simplistic thrash, but this album definitely rocks my world, it's not melodic, it's technical and progressive,  it's hard to see that this album was overlooked by so many, maybe because of the rough production or because it was released on a smaller label, but who cares when the music is so over the top and yet so precise.

The bass is very loud and it makes the music a bit funky. Vocalist Jason McMaster doesn't make a fool out of himself either, with a fine vocalist that uses a aggressive style with some high-pitched yelling now and then. If you like accomplished and aggressive music this album will be your new bible, because this album is legendary. 

⭐⭐⭐⭐⭐

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WAYNE - METAL CHURCH (2001)

David Wayne is one of my all-time favourite vocalists. His presence could elevate just about everything to completely new levels. The same goes for this album, even if the musicianship is competent and real strong, it's really a David Wayne-album. But Wayne ended up hospitalized after a car crash and he died a few months later of the complications. Even if David was in focus here, especially after his death the album also features another Metal Church-member, guitarist Craig Wells.

On this album Craig delivers a bunch of heavy hitting Metal Church-inspired riffs. I think they intended to release the album under the Metal Church-moniker but there was an argument and David Wayne decided to release the album under the name Wayne and call the album Metal Church instead. Which surely pissed off a few of his old band members. The music is very close to what Metal Church used to do. It sounds and feels like a Metal Church-release and that's why I decided to review it, even if it leans more towards traditional heavy metal than thrash metal.

I remembered listening to this album back in 2001 when it was released and I really liked it then and I still do today, so it has aged well. It's a very old school sounding album, no groove metal trends or so. So if you're a Metal Church fan and still haven't given Wayne a chance, please do yourself a favour and go and find it!  

⭐⭐⭐⭐

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WHIPLASH - UNBORN AGAIN (2009)

After the death of Tony Bono, Whiplash took a little break but now eleven years later Whiplash is back with a new lineup and record. Tony Portaro has recruited a known face in drummer Joe Cangelosi and new bassist Rich Day. Add to that a production by mastermind Harris Johns, an artwork by Ed Repka and a special guest in Kreator and Sodom's former axe man Frank Blackfire.

Unborn Again is Whiplash thrashiest record since 1990's "Insult to Injury", surpassing "Thrashback" in terms of aggression. Tony Portaro's singing style is ever changing and he is almost unrecognizable with every new release. On "Unborn Again" he sounds somewhat similar to David Wayne (Metal Church) when he sings "normal" but when he uses more aggression he reminds me of a weaker version of Paul Baloff (Exodus). There are some similarities but Tony Portaro sounds worse than those two titans, his voice sounds a bit compressed here. Tony might never be a great singer but he is indeed a great guitarist. But the most interesting on this album might just be Joe Cangelosi's drumming. "Unborn Again" is not the most exciting comeback album out there but it's nice to see Whiplash return to their thrashing ways, even if the band sound more like a traditional thrash band compared to the uncompromising ways of their first two records.

I would suggest Tony to give the former vocalist Glenn Hansen a call and pray on his knees for his return. "Unborn Again" is an average comeback, but I'm glad that they are back and I hope for some improvements in the upcoming years. Because there is no doubt in my mind that Whiplash could deliver material that could once again compete with the best in the genre. 

⭐⭐

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WHIPLASH - THRASHBACK (1998)

As the title implies this is a comeback, it's the first time the three thrashing Tony's are all together in the band since their 1985-debut Power and Pain. Thrashback is a modern take on old school thrash metal. I don't know if it's the artwork or the riffs that brings my mind to Metallica's "Kill 'Em All".

The guitarplay is certainly Metallica-esque, Tony Portaro delivers some great riffs on this album but I can't say the same about his singing. Tony's vocals are nasal and powerless, kind of similar to Dave Mustaine's worst moments. Maybe they should have called former vocalist Glenn Hansen again.

The album sounds too clean and it lacks the savagery of their 80's catalogue. When the songs go in a slow tempo this album sounds quite bad, but when the band advances with full throttle it actually sounds pretty good. Like the song Thrash 'til Death, it's a ripping thrash-assault that could have been taken from any of their early albums. Sadly Whiplash couldn't keep the original lineup intact because of Tony Bono's untimely death in 2002. Thrashback was the last statement of the good old Whiplash and I think it's their best album since 1990's "Insult to Injury". THRASH 'TIL DEATH!  

⭐⭐⭐

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WHIPLASH - SIT STAND KNEEL PREY (1997)

In 1997 thrash metal was almost eradicated from the face of the earth. So can Whiplash do what none else could and deliver the goods? Nope, the old violent and raging thrash metal band is unrecognizable here. Nowdays Whiplash sounds like a mix between 90's Flotsam and Jetsam and a big dose of Alice in Chains.

The new vocalist Warren Conditi sings like he is in a grunge-band and maybe he is. I respect when musicians tries to play different styles of music, but please don't do it under a logo that is wellknown to play another type of music. Because when I see a Whiplash-logo I immidiately think of thrash metal. But Whiplash dips a toe down in the thrash region at times, but they never fully jump in. No I just can't call this Whiplash any longer.

For me this is something else, sure a few metal fans still can dig this, but I really have a hard time listening to this. Once upon a time Whiplash was amongst the best thrash metal bands of the late 80's. I'm sad to say this but I think that Whiplash has lost the magic. 

⭐

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WHIPLASH - CULT OF ONE (1996)

1996, what a terrible year in music. Grunge has taken over and just about no one cares about metal music at all. At the same time Whiplash is reborn with a totally new lineup. Tony Portaro was reunited with former drummer Tony Scaglione (Power and Pain-drummer) and three new guys (Conditi, Preziosa & Gonzo) has been recruited to form this new Whiplash.

The album is definitely stained by the new standards in music. The Groove metal charachteristics are here and so is the semi-grungy vocals but there are also some doomy Black Sabbath-vibes going on. The album has some great guitarplay but the old raging Whiplash stylistics are nowhere to be found.

So I'm practically reviewing a doomy heavy metal album here. Even if the album ain't terrible, it's definitely nothing for a thrash metal purist. The album is well produced and soundwise there are potential but Whiplash ain't the same old Whiplash here. The new guys had too much influence and so had the trends in music at the time. Unfortunately for everyone. Cult of One is the weakest moment in Whiplash career. 

⭐⭐

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WHIPLASH - INSULT TO INJURY (1990)

Whiplash third album is a fine thrash attack, I didn't have so much expectations on this album when I bought it even though I knew that Whiplash is one of the best thrash metal bands around, but most people seems to speak about Power and Pain and Ticket to Mayhem. But my favourite Whiplash-album is actually this one.

I just love the whole album, songs like Hiroshima, Insult to injury, Essence of evil, Witness to the terror and Rape of the mind are all superb songs, speedy and intense-riffing, melodic sensitivity and choruses of high-class. 

One thing that is better than on Whiplash earlier albums is that Glenn Hansen is recruited as a vocalist, he sings with a high-pitch vocalstyle without losing aggression at all, which some high-pitch vocalists tend to do, the production is also razorsharp.

After the release of "Insult to Injury" the band struggled quite hard for years. Mostly due to lineup-changes and the death of Tony Bono. This classic album was released in 1990 by Roadrunner and it is a forgotten masterpiece and amongst the best thrash metal albums of 1990. 

⭐⭐⭐⭐⭐

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WHIPLASH - TICKET TO MAYHEM (1987)

Ticket to Mayhem was Whiplash second LP and it saw the light of day in 1987. The album is a perfect mix between the violent intensity from 1985's Power and Pain and the more melodic approach of 1990's insult to injury.

With Metalllica-esque song structures and acoustic parts Whiplash shows us that they can play a more varied type thrash. It's not just full throttle all the time. The song Last Nail in the Coffin is a surprising mellow ballad and I consider it the weakest moment of Ticket to Mayhem. Ticket to Mayhem has the ingredients that you need to make a classic. The vocals are raspy and aggressive, the guitars are razor sharp and crunchy and the drumming is intense.

"Walk the Plank" is one of Whiplash best song of all time. It's one of the best songs the whole genre has to offer and The Burning of Atlanta and Spiral Violence are also great tracks. Ticket to Mayhem is a classic thrash album that all fans of thrash needs to listen to. It's a good american alternative to the violent sounds of the German scene.  

⭐⭐⭐⭐

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WHIPLASH - POWER AND PAIN (1985)

The three thrashing Tony's debut Power and Pain is from 1985. And it is a classic in quality-terms, maybe not as recognized as other great albums that year. Similar bands are hard to say, no-one really sounds like Whiplash strange enough, maybe Exodus in their faster moments or Sacrifice.

I can't recall that I have ever listened to an album with so much energy, the music is fast and horrifying, extremely energetic. Whiplash is certainly one of my favouritebands. This album has no stopsigns, Portaro and Bono's playing is extremely fast. Tony Scaglione is not too much, more timed drumming and less frenetic like other fast bands for example Dark Angel intend to be. Tony Portaro as a vocalist works out well, he shouts out the lyrics, more harsh then later Whiplash-vocalist Glenn Hansen.

This album is re-released on CD with "Ticket to mayhem". I can't sit still when I hear "Stagedive", "Redbomb" and "Spit on your grave", well I could have mentioned any song on this album. Superb thrash, Power and pain is one of those disc's that makes you want to go out and kill people! haha  

⭐⭐⭐⭐⭐

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WITCHERY - SYMPHONY FOR THE DEVIL (2001)

Gothenburg (Sweden) based metalband Witchery is back once again. Witchery is a band with members from The Haunted, Satanic Slaugther and Mercyful Fate. The music itself has a few The Haunted-tendencies but not so much as you might expect.

This is not pure thrash like in the early days of the genre. This album is a ferocious blend between thrash, black and heavy metal, perhaps not so far away from what King Diamond has done lately, but with totally different vocal styles. I bought this album without ever hearing Witchery and I expected almost a Cannibal Corpse-brutal approach. But Witchery surprised me, for the better actually they are focusing more on melodies then on grinding drums like so many new scandinavian bands. Real tight musicianship, but what to expect with a line-up of musicians like this?.

One thing that disturbs me is that Toxines vocals doesn't blend so well with the music, but I guess it was intended to be this way. He uses the growling-technique like so many other bands these days. I think that the contrast between Toxine's vocals and the guitarmelodies doesn't work so well. My favourite songs are "The storm", "Bone mill" & "None buried deeper". The production is very thick which is common for this century, I prefer the old sloppy way. Otherwise this is necksnapping fistclenching thrash the way it was meant to be. 

⭐⭐⭐

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WITCHFINDER GENERAL - FRIENDS OF HELL (1983)

Darker, slower, and more oppressive than its predecessor, Friends of Hell pushes Witchfinder General deeper into pure doom territory. The title track is a lumbering classic, built on a massive riff that feels like a direct descendant of early Sabbath. "Love on Smack" is one of the best love songs I've ever heard. haha. "Music" on the other hand is a bit too commercial for my taste. So the band experimented a bit with mood and pacing on this record. 

"Quietus Reprise" delivers their bleakest and  most dirge‑like moment in their career. It's pure doom metal mastery. The production is refined but it still got that NWOBHM charm, The atmosphere is stronger and more focused than before. Friends of Hell doesn’t reinvent their formula, it refines it, offering a heavier, more confident take on the doom meets NWOBHM hybrid that made them legends of the metal underground.

⭐⭐⭐⭐⭐

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WITCHFINDER GENERAL - DEATH PENALTY (1982)

Death Penalty is the moment Witchfinder General fully defined their sound: a grimy,

Sabbath‑soaked blend of doom riffs, occult atmosphere, and NWOBHM grit. The album’s analog warmth gives the guitars a thick, earthy tone, and the songwriting is surprisingly hook‑driven for something so steeped in gloom.

"Invisible Hate," "Free Country," and the title track "Death Penalty" show a band capable of writing memorable and heavy songs that drew influence from Black Sabbath's 70's discography, Thus becoming one of the first examples of doom metal post Sabbath and whatever Pentagram was doing in their basement.

Zeeb Parkes’ vocals is a bit nasal and I really love that thick British accent. It's all part of the bands charm. It's raw, unpolished, and unmistakably theirs. Death Penalty stands as one of

the defining underground metal albums of the early ’80s and a cornerstone of both the NWOBHM wave as the doom metal genre.

⭐⭐⭐⭐⭐

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WITCHFINDER GENERAL - SOVIET INVASION (1982)

After the Burning a Sinner single Witchfinder General released the Soviet Invasion EP 

in 1982. Soviet Invasion is also the title-track and it's a gritty, mid‑tempo banger built on a thick, Sabbath‑inspired riff and Zeeb Parkes’ unmistakably nasal, street‑level vocals. I really like how the acoustic intro leads into that super tasty riff. “Rabies” is the most straight‑ahead NWOBHM‑style track on Soviet Invasion, faster and more aggressive than the rest of the EP's doom-leaning material 

"R.I.P." also leans hard into NWOBHM territory, faster and more aggressive than most of their doom‑leaning material, showing the band’s ability to shift gears without losing their identity. That song would later end up on the Death Penalty LP. The production is rough on the Soviet Invasion EP, almost bootleg‑like, but that only adds to the underground charm. As a bridge between their earliest recordings and their debut album. Soviet Invasion might not be as essential as their full-length EP's but I've always loved the title track. 

⭐⭐⭐⭐

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WIZZARD (SWE) - NINYA WARRIOR (1986) (Review by: Tomas Ericson)

A young band (the singer/guitarist was only 13 at this time!) that only released this single, until they changed their name to Charity and released one other single a year later.

The A-side, "Ninya Warrior" is what makes this single so great; a long, fast and emotional song which starts off with one of the most "real" heavy metal riffs I've ever heard. The only bad thing about the song is a keyboard pattern that could very well have been omitted, and that there are some sections that go on too long without any vocals, and some well-tried scales which you've heard a hundred times before.

The B-side, "Suzy", is a radio-oriented love song, although quite distinct and catchy...it's also in the minor scale, and therefor not a complete disaster. The single is very rare, and I've only seen it for sale three times. I would estimate the current market value to around $70-80. The singer/guitarist Matti Norlin is still an active musician.

⭐⭐⭐⭐

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WRATH - FIT OF ANGER (1986)

Wrath from Chicago debuted in 1986 with the Fit of Anger-album. Soundwise the album had more in common with the German bands than the Bay Area-Sound that was popular in the states. But I'm not talking about the brute ways of Kreator, Destruction or Sodom, no Wrath reminds me more of German bands like Living Death, Iron Angel and Grave Digger.

Mostly because of Gary Golwitzer's quirky way of singing but the style of the band is neither full on debauchery here. Wrath still has a power metal edge to their music which wasn't that unusual for American bands up to this point. So if you like fast galopping riffs with not to gritty vocals, Wrath is a good alternative. Their next album Nothing to Fear might be more popular but Fit of Anger definitely does it's job on all levels. The band later evolved a bit and became more of a technical thrash band but the band shows off some technical skills here too, especially in the instrumental track Bones.

Chicago had such a great thrash scene in the eighties but people tend to go more for the New York or San Francisco bands. Chicago had bands like Cyclone Temple, Damien Thorne, Devastation, Aftermath, Znowhite, Master, Stygian and of course Wrath. So much talent but none of them got the attention they deserved. Wrath did by the way a comeback last year (2014) with the album Stark Raving Mad. I haven't checked out their new album yet but their old material is great. Starting with 1986's Fit of Anger. 

⭐⭐⭐⭐

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