She-Ra: Princess of Power

Being a geek all my life, I grew up with the Masters of the Universe and She-Ra cartoons, comics and toy line. Of course, when it was suggested that I might enjoy a listen from a metal act that combine my love of both heavy metal and geekdom, I couldn’t resist. Low and behold, we have the debut EP from the band aptly named; She-Ra. The album: “Princess of Power”. I know, it’s not exactly the most original title, but hey, it’s as true to the source as you could possible get, right? Anyhow, She-Ra is a one-man project headed by, Richard Weeks and as you might suspect, the three song EP is immersed in the subject matter of the show She-Ra: "Princess of Power".

As for the music itself, Weeks describes the band as playing a raw thrash mixed with death metal and although the trash elements are inherently present, the death portion is only mildly felt as a whole. Take the opener, “She-Ra”; it opens with a very catchy riff that sounds almost like a blend of 80’s video game music and thrash metal. It’s fun and really sets the mood in a cartoon fantasy world. The song then shifts to powerful chugging riffs and strong drums, that in my opinion really drive the music forward. The bass pops along in the background and really makes it presence known throughout the song as well, which was nice. The next song, “The Great Rebellion”, shifts sounds altogether. The song opens with a slow, melodic intro, which then transitions into very distorted, down-tuned doom oriented chugging riffs. The drums plod along slowly, matching the slower doom vibe. There is a short solo near the end of the song that, reminds me of the guitar sounds of the band Countess; very thick, distorted and played in the basement, if you get my drift. Finally, the last song, “Hordak’s Whores” is a straight trash attack. Powerful and intensive riffs with the speed to match. This would be the only song that has much of a death sound blended into the band’s music and it’s done quite well.

So, overall, I was impressed with the band’s first showing of musical capabilities. I felt the leads were, perhaps not the most original, but they were well done in their own right. The rhythms displayed such as the solo heard in “The Great Rebellion” and the opening of “Princess of Power” were nicely done and very catchy. The drums and bass were incorporated adequately and both added to the overall sound and had their own identity.

That being said, my only complaint would be the vocals. First and foremost, I say this with pure constructive criticism, not distaste. The vocals, at least on the first song, simply felt out of place. On “Princess of Power”, they lacked the power and intensity that either thrash or death metal fans would come to expect, which in my opinion held the song back from reaching its full potential. The vocals on “The Great Rebellion”, I felt were a nice representation of the sound and theme of the song, by the song itself felt a little out of place. Perhaps on a full length, it would have fit into the overall sound or story of the album much more seamlessly, but nonetheless, the song and the vocals work well with each other. “Hordak’s Whores” is the one song that the death like vocals came through on the EP and although I felt they were the only vocals that carried enough intensity for the trash/death label, they themselves could use a little fine tuning. That’s not to say they were bad, or not enjoyable. Far from it, but they were a little rough around the edges.

I think, with a little polish and a few tweaks to his sound, She-Ra, could really create some nice geek laden deathrash in the future. With lyrical themes and album concepts set in the world of either Etheria or Eternia, you would be hard pressed for me not to get excited for a future listen.

Rating: 2.5

Betrayer: My Twisted Symphony

When it comes to heavy metal from Israel, bands such as Orphaned Land or Melechesh are often mentioned, but, like any other country on this M class planet, there many acts that slip under the radar. Betrayer happen to be one such act. Hailing from the city of Ra'anana, Betrayer play a brand of thrash metal with a heavy influence of melodic groove metal and a dash of death to complete their sound. After a few demos, the band released their sole EP in 1998 titled “My Twisted Symphony”

This music on this little EP (5 songs (one being an instrumental) and clocking in under 19 minute) is structured around medium paced riffs that for the most part border the edge of thrash and death metal. Although the riffs offer a heavy dosage of chugging, there are a number slower, down tuned riffs that hook the listener and serve as nice “stop and go” style of tradeoffs between the tempos. Even though the leads may not be anything groundbreaking, there are some nice rhythms that develop within the songs, which either culminate into a short, but catchy guitar fill or an interesting solo, both of which fall within thrash sounding territories.

The drumming is blissfully simple. Adding a steady supply of double bass kicks that flow in the background of each song, that unfortunately, never show off anything other than vanilla sounding beats. The same can be said for the bass, as, you can hear it, if you seek it out, but it isn’t featured enough to make an impact. I must say though, that the use of keyboards as a nice layer to the overall sound. Often, the keys kick in behind the guitar solos to give off a vibe of dissonance that plays very nicely with the guitars. A good example would be on “Battles Within” or Gardens of Memories” Yishai Sweartz vocals leave a lot to be desired, as they seem to lack much enthusiasm and tend to sound more muffled than perhaps the harsh and gruff sound he was shooting for.

All in all, “My Twisted Symphony” may not have garnered enough interest to move forward with their career as sadly, this would be their final output. Despite some of the flaws on vocals, drums and production, I felt the guitars showed a lot of promise, that with a little more work in the studio, could have fine-tuned their sound into something more. Unfortunately, things don’t always work out as they were intended. I can’t say this EP has a lot of replay value, but the potential was there and I think this is definitely worth a listen for fans of the early to mid-90’s thrash.

Highlights: “Garden of Memories” “Battles Within”

Rating: 3

Onslaught: Power From Hell

“Black Metal”. “To Mega Therion”. “Obsessed by Cruelty”. These are all albums that are generally mentioned when the discussion of the early black metal comes up. Each album is rooted in a very filthy, raw blend of thrash metal with elements of what would later go on to become black metal (and death metal). However, not every band that played this style of “proto-metal” would go on to shape worlds so to speak. One such band, would be Onslaught. The Album: “Power from Hell”.

Hailing from the UK, Onslaught joins the list of bands that dabbled in the mixing of early thrash and black/death elements both in sound and imagery. The music on “Power from Hell” is typical of the proto sound; filthy, raw, fast thrash metal with that extra ingredient of “proto”. The guitars play with a high speed relentlessness that is thick and sinister, creating both heading banging riffs and catchy rhythms. The bass is very murky, creating a nice layer of sound the compliments the guitars and adds to the overall dark and demonic atmosphere. The drumming, while nothing above and beyond, play a very up tempo, pounding and crashing style that drive the songs forward with non-stop force. “Thermonuclear Devastation” is a finer example of the relentless drums and speedy guitars while the epic “Onslaught (Power from Hell)” reflects on the it’s dark and demonic style the proto-black/death metal sound was built upon. Skullcrusher I&II are both instrumental, but I feel display the best of the albums production, as each instrument plays a vital role within each song, and each instrument highlights just what they bring to the table.

Now, Paul Mahoney is the main vocalist however, Nige Rockett fronted the tracks “Death Metal” & “The Devil’s Legions”. Mahoney’s vocals are very rough and have a certain grit to their sound, which reminds me a bit of Venom’s “Black Metal”. They help define the character of this album, being dark and primal in nature. As for Rockett, I really enjoyed “Death Metal”, but his voice sounds a little too crisp and higher pitched, which tends to take away from darkness from which that band dwelled. I would say his vocals would fit the sound of a more, straight forward thrash sound.

“Power from Hell” may not be a perfect album, but it was one of the handful of albums at time that explored new territories in metal. Onslaught may not be mentioned as often as some of the bigger players of the time (as their sound would change in the near future), but “Power from Hell” is more than deserving for a nod of appreciation. Either way, for fans of a nice primordial thrash attack or those looking to add to their early black/death metal experience, go ahead and pick this up.

Highlights: “Onslaught (Power from Hell)” “Angels of Death” “Skullcrusher I&II”

Rating: 3.5

Indestroy: Indestroy

Indestroy, a US thrash act that put out a full length and an EP at the height of the thrash craze. The problem? Like many other thrash bands of the era, there were simply too many bands pumping out albums that, unfortunately, bands like Indestroy got lost in the shuffle. That is a real shame too, because “Indestroy” is an excellent release. One that, I’ve come to discover, is still languishing within the shadows of obscurity.

The music on Indestroy is simply one fantastic riff after another, with catchy harmonies and nice solos throughout. The sound they create on “U.S.S.A.” sound a lot like Megadeth, as do the vocals, but not ripped off in any way. Now, as with some thrash acts of the day, the guitar work would quickly become the highlight of the album, with their shredding nature, while the drums take back seat. Sadly, that is the case on “Indestroy” as the drums are audible, but they simply play a supporting role. With a little more polish on their song writing, I think the drums could have given this album a better shot at success. The bass is very noticeable on here, especially on songs like “Justice Sucks” and “Shadowlord”.  I like the sound created by the production, which is muddy with almost a sludgy sound, but allows each of the instruments to be heard. I thought the vocals were a nice fit for the sound of “Indestroy”. They are gritty with just a little rasp to them that allow Mark Strassburg to perform faster and slower performance rather well.

Overall, “Indestroy” is one of the ‘hidden gems lost in the sands of time’ kind of album. At the time, it was a shame their number didn’t get called, but that’s just the name of the game sometimes. With the revival of thrash in the late 00’s and seemingly more waves of new, aspiring thrashers coming out these days, it would seem that an album such as “Indestroy” will forever be left as a best kept secret, but sometimes that’s just the way hidden gems like this stay so bright. You should give this a listen.

Highlights: “U.S.S.A.” “The Gate” “Justice Sucks”

Rating: 4

Znowhite: Act of God

Don't judge a book by its cover. I remember saying that to myself when I came across Znowhite's "Act of God". Even though I had read some decent reviews, I was worried this was going to be some generic attempt at either thrash or even some variation of doom. Well, that old adage continues to prove itself true once again, because what we have here is a very underrated thrash album. The album starts off with a soft little guitar intro and until they enter the fray in full force. Thrash to the bone. There are plenty of catchy riffs, harmonies and excellent solos to please every thrash fan throughout the album. The most intriguing aspect is how the tempo can change from a straight speed thrasher into a slower technical vibe, but they do so without losing any of their aggressiveness. Sort of how Metallica was able to do such on "And Justice For All". I enjoyed Nicole Lee's vocals as they have a very unique sound that add another layer of complexity to the band. I would say they best remind me of Michael Coons of Laaz Rockit. So, to sum it up, it you like a mixture of in your face thrash with elements of technicality, catchy riffs, sing along choruses and vocals that will leave an imprint in your memory, "Act of God" is for you. At a time when thrash was about to head back down the mountain so to speak, this was an excellent release to help with exhausting effects of the thrash era.

Highlights: "To the Last Breath" "Baptized by Fire" "Thunderdome" "Diseased Bigotry"

Rating: 4

Lääz Rockit: Know Your Enemy

Laaz Rockit's third release "Know Your Enemy" is an energetic fuel thrash album from the era that saw so many bands come and go. "Know Your Enemy" is filled to the brim with speedy riffs that are catchy and memorable, something that many thrash bands of that time failed to accomplish. As usual, Michael Coons' vocals are one of the highlights on this album as his sound fits perfectly with the atmosphere the band creates and play so well with the genre altogether. As with "Annihilation Principle", the main feature here is both the vocals as well as the guitar riffs, which taken center stage. As a tradeoff, the solos once again play an important role, but they are not as crucial to the overall sound as the riffs are. Drums seem to be just along for the ride on most of Laaz Rockit's release, nothing terrible, but nothing fantastic either. This album along with "Annihilation Principle" were my first experiences with the band, one that I remember vividly and as such, would recommend to any metalhead.

Highlights: "Euroshima" "Last Breath" "Say Goodbye M.F."

Rating: 3.5

Lääz Rockit: Annihilation Principle

When I was a kid, my stepfather had this cassette sitting out and I remember even at seven years old staring at the artwork and thinking; this is awesome. Of course, it would be years before I actually listened to "Annihilation Principle", but when I finally did, I remember it being just as awesome as I thought it would be all those years ago. The first thing I was drawn to was Michael Coons' vocals. They are as unique as they are fun the listen to, sort of like Brock Lindow of 36 Crazyfists (no I'm not comparing the vocalist, the band nor the genre, just they they each have unique characteristics). The guitars are the driving force behind the music hear. Compelling riffs that engage the listener right from the get go and solos (albeit nothing earth shattering) allow for nice transitions within the songs. Among Laaz Rockit's discography, I would say this is my favorite and probably the easiest one to listen to for those may be trying to expand their thrash databases. Definitely recommended.

Highlights: "Fire in the Hole" "Chasin' Charlie" "Holiday in Cambodia (Dead Kennedys cover)" "Mob Justice"

Rating: 4

Antidote: The Truth

Finnish thrash from the time when Thrash was circling the drain. It's a real shame to because Antidote's debut, "The Truth" is a nice piece of thrash that, in my opinion, had dropped back in say 88' or 89' probably would have gotten more buzz. 

The sound of the album reminds me a bit of Laaz Rockit in the vocal department, but Artillery and in the guitars. The riffs here are aplenty, but they're not just straight forward thrash assault, blistering riffs. There's a lot a melody and rhythm that the guitars create making this brand of thrash feel a little more like speed metal at heart, but there are instances where they will shred your face off. As I said, Nino Laurenne vocal's remind me of Michael Coons from Laaz Rockit with his higher vocals, but adds depth to his sound when his low, death like tones kick in. I can't comment much on the drumming other than its presence is felt, but they seem to be just part of the equation as opposed to a crucial factor. 

I discovered this album on one of the many "underrated" thrash albums lists I've come across over the years and I must confess, that description is spot on.This is a very overlooked, very well done thrash album that came out at the wrong time, but proves the notion that, just because thrash had gone out of favor, it was far from dead. I would recommend this to any metal head looking for a solid release.

Highlights: "Symphony of Death" "Melancholia" "Subordinated People" "Within His Power..."

Rating: 4

Rumpelstiltskin Grinder: Buried in the Front Yard

Thrash metal with just a hint of crossover and a sprinkle of death, Rumpelstiltskin Grinder's debut, "Buried in the Front Yard" is a fun and entertaining album. Musically, the thrash on display here is done very well, as it's not just shredding riff after riff, but rather a variety of thrash sounds ranging from speed assault to a more technical vibe. Song's such as "Grab a Shovel (We've Got Bodies to Bury)" and "Let the Fools Cheer" show off these abilities from and center. However, not every song benefits from such abilities and sadly, more than a few songs here are simply not memorable, but by no means horrible. The humorous lyrics and themes remind me of GWAR at times and I do think their sound fits the lyrical themes as well. Thrash and crossover fans wouldn't be upset to give this a listen as they might get a kick out of this release.

Highlights: "Grab a Shovel (We've Got Bodies to Bury)" and "Let the Fools Cheer", "Stealing E.T."

Rating: 3

I4NI: It's All Fun and Games

A straight forward thrash offering with Tom Hunting of Exodus fame assuming the responsibilities both drums and vocals.  The early-mid nineties was a rough time to try and hit pay dirt with a thrash release, but the songs on this collection of demos showed a lot of promise, but ultimately, never grew into anything but a side project. "Letters of Lunacy" is an excellent little thrash ballad, while "Rage Within" and "Fatal Sleep" show the potential these demos had, but unfortunately, the major setback is the guitar work.  Bobby Gustafson, who played guitar with Overkill simply missed the mark on any riffs or solos that may have helped these demos stand out among the crowd. All in all, definitely worth your time.

Highlights: "Letters of Lunacy", "Rage Within", "Fatal Sleep"

Rating: 3.5

Absolute Zero: Torn

This Canadian outfit only released one full length and I think the timing of this release was what doomed them. Labeled as thrash, this album has heavy doses of hip-hop and alternative groove styles mixed throughout. This album may have had a little more success had it been released in the height of the NU-Metal era a few years later, but by 94, thrash was long dead and Nu-Metal was in its earliest years of infancy. That being said, overall, not my cup of tea. One interesting song was,"Welcome to the Resurrection", as the chorus sounds like it could have been worked into Fear Factory's "Soul of a New Machine"

Highlights: "S.E.D." "Welcome to the Resurrection"

Rating: 1.5

Zimmer's Hole: When You Were Shouting at the Devil...We Were in League with Satan

Zimmer's Hole may be a humorous thrash outfit, but don't let that fool you. This isn't Green Jello, Psychostick or Crotchduster in that, the humor outweighs the music. Far from it. Yes, the lyrical aspects and songwriting is meant to be a parody, but that say very little about the bands musical ability. First, being a side project of Jed Simon (Devin Townsend and Strapping Young Lad) it's no surprise that he brought along Byron Stroud (also SYL and Fear Factory) and the legend himself, Gene Hogaln (SYL and many others). Musically, I knew there would be no concerns with such a lineup. Put them together and you get a fast paced thrash album that easily hooks the listener and entertains them with their shtick. The guitar melodies are consistently present throughout the album accompanied by numerous catchy riffs. The drums, well it's Hoglan, so yeah they are front and center and quickly become on the anchors of the album's sound. Now, for the vocals, Simon brought in, Chris Valagao, who at the time, I'd never heard. My first impression of his voice was good. His highs were excellent and his harsh vocals didn't seemed forced at all. But, that description immediately reminded me of the description of one Devin Townsend. I'm not saying that he is a clone of Townsend, nor am I insinuating that Simon was simply trying to recreate Strapping Young Lad. However, one can't help wonder if he had envisioned Townsend's sound as the voice of this album. I see it as a compliment really, I mean to have a sound similar to the great Devin Townsend cannot be a bad thing. 
So, with being said, this is a fun, catchy album that will have you head banging for sure. Is it perfect? No. There are some lowlights on here and there, but all in all fans of thrash should certainly give this a listen.

Highlights: "When You Were Shouting at the Devil...We Were in League with Satan" "We Rule the Fucking Land" "Anonymous Esophagus"

Rating: 3.5