Mekong Delta ~ Germany

The Principle of Doubt (1989)

About a dozen years ago I did a complete retrospective on Mekong Delta, easily one of my favorite progressive thrash bands. But I left this one out. I think I was planning on selling it. Glad I didn't. This is their 3rd album, but unfortunately it went back to the production of the debut. It's just terrible really. But a close listen demonstrates all of those endearing Mekong Delta traits. Complex music but dirty and grimy. None of that effeminate Dream Theater stuff here! lol.

Ownership: 1989 Aaarrg (CD). Booklet with lyrics. Acquired in 1993.

1993; 2010; 2/2/23 (review)

In a Mirror Darkly (2014)

After 27 years, Mekong Delta keeps going at a high standard with In a Mirror Darkly, an album that sounds like a cross between its two studio predecessors Lurking Fear and Wanderer on the Edge of Time. The hyper complex technical thrash returns, but with a strong dash of accessible material as well. The opening two instrumentals recall their 2010 opus, as does the complex instrumental 'Inside the Outside of the Inside'. And there are a couple of more accessible vocal oriented progressive metal tunes here like 'The Sliver in Gods Eye' and 'Janus'. But for those looking for the heavier, more murky and mysterious trademarked Mekong Delta material, then 'The Armageddon Machine', 'Hindsight Bias', and 'Mutant Messiah' will certainly delight. As with Lurking Fear, these tracks should be heard on headphones only, as there are lot of ideas thrown out that will be only picked up with careful listen. There isn't any of the jaw dropping greatness of a track like 'The Apocalypt - World in Shards', but overall the album is an impressive listen. Mekong Delta, since their reformation, may have not regained the heights of their early 90s formation - but they have proven to be more consistent in their wizened old age. Let's hope they continue and ultimately surpass what they accomplished over 20 years ago.

Ownership: 2014 Steamhammer (CD). Acquired in 2014.

8/27/14 (review)

Lurking Fear (2007)

After 13 years of dormancy, Mekong Delta return with Lurking Fear. Or I should say founder Ralf Hubert returned with a whole new crew in tow - all experienced and talented metal warriors (you know a band's been around the block when the "youngster" is 37 years old). Unlike progressive rock bands from the 70s, most metal groups' reunion efforts tend to be very good. I've long held the belief this is because the metal groups (many who came about in the sordid underground of the 1980s) understood their core client base far more than the bands from the 70s who were still aimlessly looking for radio hits. Not only did Mekong Delta take a long vacation, but so did the entire technical thrash movement they helped invent. So it turns out Mekong Delta's reunion also ushered back in a most welcome style of music, that has since gone on to be popularized more so than ever by a once obscure Phoenix area band known as Vektor (whose 2009 debut is considered the 3rd highest ranked album according to RYM for all albums (yes, that's right, from a technical thrash band!!)). So exactly where did Mekong Delta look for inspiration for their comeback? Of course I would have hoped for Dances of Death, but instead they chose The Music of Erich Zann, which is certainly not a bad choice at all. This is gritty stuff. Highly complex music, with some orchestrations, that is also deadly in the thrash department. The riffs are solid, and are given just enough space to stand out among the insane amount of ideas thrown around. There are even some real melodies here, which is something of an accomplishment in this field of music. I'm telling you folks, this is headphone music only. I tried listening to it in the car recently, and I just couldn't give it the focus it requires - and it sounded like a big pile of goo. Sitting down with a real stereo and listening intently with headphones (and a craft Imperial IPA of course), really opens this one up. Lurking Fear is not to be missed.

Ownership: 2007 Locomotive (CD). Acquired in 2010.

12//10; 8/26/14 (new entry)

Visions Fugitives (1994)

Visions Fugitives followed the excellent Kaleidoscope, and it seemed the band just went off into the ether afterward. Even back then, the album received little promotion or accord, and few paid much attention to it. I managed to secure a reissue CD copy many years after the original release on the German label Zardoz (mind you I was a fan of the band at the time - so perhaps that underscores what I'm saying about how obscure the original release was). The first opening two tracks could have easily been on Kaleidoscope, and 'Imagination' adds a very interesting psychedelic element here, not a sound commonly associated with aggressive metal. This is followed by the six part, 21 minute orchestrated suite. If you look back on Mekong Delta's career to this point, it would almost seem obvious this would be the conclusion of where they were headed. And while many fans shake their head in disgust, I think it's a fine addition to their catalog. I appreciate that the classical music isn't based on standards, but rather all the compositions are originally charted for this album. The Swedish band Therion would later take this concept to more grandiose heights, but Mekong Delta were pioneering this concept all the way back to the late 80s (sure, many a rock band did the same in the late 60s - but not in the thrash metal field had this been a common practice). Now one criticism that I also will get behind - is that there isn't really an orchestra! Oh for crying out loud - you write something for an orchestra than at least have one to perform it! Synthesizers aren't going to get it done. Oh well - I still appreciate the effort applied here, at least from a compositional perspective. Even if the long suite doesn't satisfy, Visions Fugitives closes nicely in the same fashion as the opening, complete with a psychedelic overtone added to the vocals, and acoustic guitar interludes. After this, Mekong Delta appeared to call it a day, seemingly accomplishing everything they had set out to do.

Ownership: 2002 Zardoz (CD). Acquired in 2002.

2002; 8/25/14 (review)

Kaleidoscope (1992)

Kaleidoscope is a great follow up disc to Dances of Death. Mekong Delta were at their creative peak by this point, with a jaw dropping cover of Genesis' 'Dance on a Volcano' (Progressor of Uzbekistan (RIP) once said "maybe the best metal cover ever"). Also a fascinating version of Khachaturian's 'Sabre Dance'. I don't typically go for classical covers, but Mekong Delta tend to do them better than the rest. As for the other 40 minutes of original material, it's an extension of Dances of Death, but more refined and slightly less chaotic. Dances of Death is the 'Manticore' of progressive metal stretched over an entire album and still remains my favorite progressive thrash album ever. This may well be their next best then.

Ownership: 1993 Intercord Japan (CD). Acquired in 1994.

1994; 2004; 2010; 8/24/14 (review)

Dances of Death (1990)

On their 4th album, Dances of Death, Mekong Delta laid down the progressive thrash album for the ages. The title track is like the instrumental segments of Emerson Lake and Palmer's Tarkus stretched to 20 minutes. It just keeps going and going... and going. At neck breaking speed. Meter change after complex meter change. If you're not seeing a chiropractor after listening to this then... you're just not listening to this! Doug Lee hits all the high notes while Ralf Hubert propels the whole thing along via his gymnastic bass. Uwe Baltrusch's guitars are just insane. And the playing is tight, tight, tight! And what amazes me most? It's a 20 minute composition that clearly is one composition. Not eight different songs under the banner of a suite (cough, cough.... Fates Warning, Dream Theater). What a ride. The two shorter pieces are great, similar to what you would hear on The Music of Erich Zann. This leads into the de facto version 'Night on a Bare Mountain'. Yep, that's right - that old classical piece and progressive rock cover chestnut. This is the definitive version. You'll never hear the composition the same again. In fact, you won't hear a thrash metal album again the same. What a monster of an album.

Ownership: 1991 Aaarrg Japan (CD). Acquired in 1996.

First copy: 1990 Aaarrg (LP). Acquired in 1993.

1993; 1996; 5/14/06; 8/23/14 (review)

  

The Music of Erich Zann (1988)

The Music of Erich Zann is a huge improvement on their muddled debut. The music is still raw, but the production gives the instruments clarity. And when you play as complex and fast as Mekong Delta does, then this aspect of their overall sound is highly important. Perhaps 'True Lies' is the ultimate example of this era of Mekong Delta. Complicated, thrashy, yet melodic. In control. 'Interludium' was my initial introduction to the band, as it was played - perhaps unbelievably - on a local radio station in Dallas back in 1988 (!!). It was one of their first collaborations with orchestra and highly successful at that. And the Dead Can Dance styled closer 'Epilogue' is disarming. Overall, a definitive statement in the progressive thrash genre. Definitely a good place to start with this excellent band.

Ownership: 

1988 Steamhammer (LP). Acquired in 1988.

2002 Zardoz (CD). Acquired in 2010.

1988; 11/27/10; 8/20/14 (review)

Wanderer on the Edge of Time (2010)

One of the challenges in appreciating Mekong Delta is that their relentless complexity can be difficult to penetrate, especially on albums where the production isn't crisp (their early days in particular). What if Mekong Delta dialed back the intensity and mathematics, while still maintaining their heavy symphonic approach, but with a crystal clear production? Wanderer on the Edge of Time is the answer to that question. Mekong Delta always had a penchant for blasting out thrashy, but complex progressive rock oriented, instrumental interludes ('Intermezzo' being the highlight of the nine (!) instrumentals here). This is no doubt an homage to Ralf Hubert's fascination with ELP's Tarkus suite among other Emersonian classical interpretations / original compositions. Here they intersperse these interludes with more song oriented material. The latter represents somewhat of a departure for the band - something they explored briefly on Kaleidoscope. But fear not, as the band performs perhaps their best progressive thrash metal track to date with 'The Apocalypt - World in Shards'. If Lurking Fear is the successor to The Music of Erich Zann, then Wanderer on the Edge of Time would be the inheritors of the Dances of Death / Kaleidoscope era with a bit more melodic consideration. Another excellent addition to the Mekong Delta legacy.

Ownership: 2010 Aaarrg (CD). Digipak. Poster booklet with lyrics and artwork. Acquired in 2011.

7/25/11 (review); 8/19/14; 5/6/26

7/25/11 (new entry)

Blackkout - Ignorance of Man. 1989 USA-Florida

And the hits keep on coming. It continues to baffle me just how many creative American metal bands were in existence from the late 80 through to the early 90s. I was still paying attention real time for acts such as this, though I wasn't really focused on the cassette culture. And I should have been, because that's how many of these albums were released in the first place. And many used the full length, allowing them to release that much more music than an LP, or a cheaper alternative to the still-too-expensive new medium called CDs. Thank goodness for the reissue label - or in many cases - the archival labels. Many of these labels aren't even here in the States, but in Europe, especially Germany, Greece, and Italy.

As noted, the cassette tape afforded bands a chance to release a lot of music. And that certainly was the case with Ignorance of Man, where there are a whopping 17 tracks here, including a 10 minute epic closer. From what I understand, but is poorly documented, this tape itself was a compilation of the band's recorded (or written) music throughout the 1980s. While it certainly all belongs to thrash metal, there are variations in both sound and structure, that indicates the band had flourishes of progressive mindedness along with more traditional approaches. Fortunately, most of the material on Ignorance of Man is fascinating, and well worth hearing. There are a few tracks where galloping guitars and gang vocals define the music. These are pretty ordinary, and would have been for the 80s as well. But the majority have passages that we used to call technical metal. And the kicker is the instrumentation. Even though Blackkout are only a 3 piece (with dubbed guitars to make it sound like a quartet), the leader of the group brings along not only a flute, but also an electric violin! The former immediately draws comparisons to one of progressive thrash's greatest groups in Psychotic Waltz. Electric violin on top of that? That's highly unique. While I wouldn't say these instruments are predominant in any way, they do add flourish to many of the tracks. As noted, the album closes with a 10 minute epic, which is one for the ages. 'The Talisman' goes through all sorts of twists and turns, similar in some ways to Manilla Road, but more thrash oriented. All in all, a must for fans of late 80s adventurous metal.

Blackkout were from America's richest metal talent area of Tampa / St. Pete, though they weren't part of the death metal wave that the region became most famous for.  The CD also (remarkably) includes their 1985 single, which is similar in construct to the album proper.

Ownership: CD: 2010 Arkeyn Steel (Greece). Recent online acquisition. Numbered edition (mine is #584) jewel case with a full booklet containing recording details (though no specific dates), photos, and lyrics. Excellent in every way, except it's missing a history, which I think would have helped provide context.

Taramis - Queen of Thieves. 1987 Australia

I recently posted about Taramis' second album Stretch of the Imagination. That reminded me to seek out the debut. I had read that Queen of Thieves was more like Iron Maiden and far less complex than their sophomore effort. But I didn't find that to be the case. This is certainly in line with some of the other crazy progressive thrash bands hovering about in the late 80s. One never knows where the music will take you next. Yet another solid album from downunda. Pity they stopped when they did. 

Ownership: LP: 1988 Metal Blade (USA). Recent online acquisition. Sealed no less. And surprisingly not expensive. Single sleeve with quite the eye catching cover.

Taramis - Stretch of the Imagination. 1991 Australia

There was a time between the late 80s and early 90s where metal bands continued to extend the boundaries of the style, to the breaking point. Most of them having come from thrash and traditional heavy metal backgrounds. Sometimes the music was surreal in its complicated approach. It was almost as if the 70s prog rock bands at reemerged during the thrash era, and the end result was often mesmerizing. None of these groups were particularly successful on a commercial level, though the more known entities managed to sell quite a bit of copy. Mekong Delta, Realm, Anacrusis, Psychotic Waltz, and Thought Industry were just a handful of the most recognized names. For my tastes, this era of metal was the zenith of the style. The music must have been difficult to perform live, and lacking any kind of commercial enthusiasm, the style seemed to disappear overnight. By 1994, more contemporary and direct styles such as Nu-Metal and Groove Metal began to emerge, seemingly as a response to progressive thrash.

Australia's Taramis were yet another band who made a go at this most interesting metal genre. They started as a traditional heavy metal band, but by 1991 - the heyday of prog thrash - they released Stretch of the Imagination. As apropos a name as one could think of. And Taramis proved they were quite adept at it too. The vocalist is more in control than most (though hardly smooth), and the sound is crisp yet chaotic. Best of all is the bass playing, not an instrument that always gets highlighted in music such as this. All in all, another excellent example of progressive thrash, and well worth your time if music like this interests you at all.

Ownership: CD: 1991 Rising Sun (Germany). Purchased new online sometime in the late 90s.

Midas Touch - Presage of Disaster. 1989 Sweden

Sweden is, pardon the pun, ground zero for most styles of heavy metal, and that continues to this day. Thrash metal, however, isn't one of them. Midas Touch may be the most well known, and they are still what one would call obscure. Their brand of thrash is a bit more hardcore than I typically prefer, recalling bands like same era Dark Angel, Sacrifice, and even early Exodus.  However, they are also pegged to the more specific progressive thrash group of bands. There's some interesting passages here, including synthesizers and multiple themes. Midas Touch doesn't demonstrate the patience needed to transcend to the next level. They quickly get back to bashing at 100 mph. So while it's not at the level of Psychotic Waltz or Mekong Delta, the album most certainly is entertaining for repeated listens. And that makes it worth keeping.

Ownership: CD: 2012 Divebomb. Super issue filled with historical info, photos, etc. It's a double CD and includes demos from 1988 and 1990. Also includes their first cassette Ground Zero from 1987. 

6/1/20 (first listen / review / new entry)

Osiris ~ Netherlands

Futurity and Human Depressions (1991)

---7/2/06 

Osiris were one of those metal bands from the late 1980’s and early 90’s to attempt what is known as Technical Metal, a highly complex form of heavy metal that was more or less invented by Watchtower in the mid 1980’s. I only picked up the CD originally as it was mentioned in the same breath with early Sieges Even circa Life Cycle and the aforementioned Watchtower in an old Metal Forces magazine review. All the trademarks of the style are here: Loud thrashy guitars, turn-on-a-dime rhythms, high pitched vocals, and nary a melody to be found. And it is this last trait that most affects the outcome of Osiris’s album. One web reviewer stated that it sounds like Osiris are playing complex music just to be complex. And I would say that’s about right. It’s also fairly one-dimensional. The guitar playing isn’t particularly crisp either, a somewhat sloppy run through. All the same, one has to admire the sheer audacity to try to muddle through these hyper-complex compositions – most between six and nine minutes. This is the kind of album that I can appreciate more on some days than others – and I suspect anyone into very complicated music will feel the same. 

---4/19/20 

 
The above review was for Gnosis about a generation ago, but my thoughts are more or less the same. Once again we're dealing with a very dense style of thrash (from teenagers no less), not that dissimilar to Deathrow's Deception Ignored that I just reviewed and also listened to recently. As time goes on, I seem to enjoy this kind of metal more than even prior. This resulted in a +1 listen.

Ownership: 1991 Shark (CD). Booklet with full lyrics and the requisite thank you section.

1996 (CD acquired); 7/15/06 (review); 4/19/20 (update / new entry)