Indestructible Noise Command ~ USA ~ Connecticut

Razorback (1987)

As with the Wooden Shjips, here's another surprise from my last Denver record buying trip. The cover you see is not what I have here (no loss I'd submit). Rather mine is plain white, and yes, it is indeed a test pressing. Priced very reasonably I must add.

I figured based on the year, and that the band are labeled thrash, that it likely will be to my taste. And it is. This comes from the era when metal bands were riffing mad, and the more they could squeeze into a cut, the better. And if the rhythms followed their lead, you have something truly progressive. Being from Connecticut, the band seems to favor the nearby northeastern groups such as Anthrax, Overkill, and Attacker. The vocals occasionally go for the gang chorus, which also calls to mind Exodus. The lead singer doesn't shriek like many of his contemporaries, sticking more to a punk aesthetic. The guitar tone is deliciously thick and heavy. Good solos are interspersed throughout. There's some Cliff Burton-like bass as well. While certainly nowhere near the most complex of tech thrashers, it nonetheless moves seamlessly from idea to idea. To get noticed in 1987, one would have had to do more than this, yet the album remains a solid effort for the genre.

Ownership: 1987 Giant (LP). Test pressing on Rainbo. Acquired in 2026.

8/12/26 (review)

8/12/26 (new entry)

Thought Industry ~ USA ~ Michigan

Songs for Insects (1992)

Recently I mentioned that Coroner could very well be my favorite metal band of all time. Songs for Insects is in the running for my all-time favorite metal album. I've referred to this album often in these pages, usually when complimenting a band on their inventiveness, drawing comparisons back to Songs for Insects. Kalamazoo's Thought Industry seemingly came out of nowhere, and rewrote the book on the possibilities of thrash and progressive metal. It proved to be too much for the general public, however, and the album more or less disappeared into the ether. Even today, it's not much more than a cult favorite, but with only a very small, but loyal, audience. Their second album was much heavier, though not near as creative in my mind (though it rates higher in metal forums). I removed it from the collection, but still have the CD here, so maybe I'll try one more time. After that, they switched gears entirely and became an alt-rock band. And not a very good one at that, though I probably wouldn't know what a good alternative rock band sounds like anyway.

Though it appears the last time I heard the album was when I bought it upon release, that's only because I have no documented listens since 2004. But I heard this album a lot throughout the 90s. It was one of my adrenaline go-to's, and certain tracks I'd hear over and over. But it's true, it really has been over 20 years since I last heard it in full. So I'm curious if it holds court as a top level metal album, or if it's lost its lustre. Let's dive in.

The album actually starts off like a more traditional thrash album, albeit with technical complexities. A little bit like Wrathchild America. The crunchy guitar tone is perfect and I really appreciate the vocal style. He doesn't shriek or growl, but rather he sings. What a concept. It's the title track where things get weird. I mean really weird. You can pretty much tell if Songs for Insects is going to be for you right here. The music is all over the place and rapidly changes tempos. It's about as progressive as it can possibly get, including traditional prog rock. Imagine Gabriel-era Genesis mixing it up with Watchtower. Get your mind around that one for a minute. The vocals are at once soft and harmonious, and at others they're processed like a beast. But nothing like death metal, more like a 70s type effect. And the lyrics draw inspiration from the cover. Daliesque indeed. You probably should hit pause here and take a few breaths. It's an overwhelming track.

You could parse one track a day, and pull something different each time from it. For any other band, every one of these songs would be the highlight of the album. Here they get lost in the mix and it's a lot for the brain to distill. It's only because I know the album so well, I can anticipate where the music is heading, and recall the peak moments. And there are so many peak moments. Track 5 provides the necessary acoustic break in the action, though no less progressive. 6) is the perfect energetic setup for...

7) 'The Chalice Vermillion'. As if the title track wasn't enough, Thought Industry had one more incredible composition in their suitcase. It's just as insane, but with even more ideas per second. It's crisply executed too. I could make an argument that this is also one of the greatest metal songs ever made. What on earth was going through the minds of this group when they composed these numbers? They defy all sorts of convention. Tales from Topographic Melting Clocks I'd submit. Hi King Crimson, meet Death Angel. Surreal as it gets.

After that roller coaster ride, we still have three tracks and 23 minutes to go. And it's not like they eased off the gas. 8)-10) are just as progressive, in some cases pure prog rock versus metal. These three would have made an excellent EP, released separately. It's easier to digest that way.

You'll notice that every review of this album is very different from each other. Everyone has their filters, and this album manages to obliterate those in ways none of us truly understand. But what it should tell you, my dear reader, is that you will be in for a unique experience. And it will be all your own.

One other thing - this should be the last album in your listening session. Nothing else will sound the same. Tomorrow is another day, and all will be back to normal.

Ownership: 1992 Metal Blade (CD). Booklet with small print lyrics, recording details, and a band photo.

Also have Mods Carve the Pig.

1992 (acquired); 12/8/25 (review)

Coroner ~ Switzerland

Dissonance Theory (2025)

Next up in my coverage of new albums comes Coroner's latest. I closed off Dark Angel's Time Does Not Heal review with: "Their new album has been met with serious derision. The opposite of another 80s / early 90s legend that recently reformed and I will be talking about (excitedly I hope) within the next month." And here we are.

Coroner is arguably my all-time favorite metal band. If not number #1, they are certainly in the discussion. They were part of the second wave of thrash bands that came around in 1987, post Master Of Puppets. Coroner were peers of Celtic Frost, and they were inspired by that group's unique style of thrash metal and God-knows-what from Tom Gabriel's cabeza. I haven't documented any of their five original albums on UMR, but suffice to say, they got better as they went. I know I'm in the minority here, but Grin was the apex of their career, and probably was the perfect time to call it quits, before the 90s metal scene devolved into an uninspired mess later in the decade. I'll defend my position when I get back to their discography, whenever that may be.

The build up for Dissonance Theory has been nothing but super exciting. It brought me back to the mid to late 80s, pouring over every word in Metal Forces, looking for that one metal album that would take me to the stratosphere. And that happened many times, some have already been documented here. I haven't done this type of reading in eons. The wait has been very long, going back almost a decade to 2016, when Coroner said they were working on a new album. Years passed, and only a few hints kept that flame alive. Until 2025. The way the group talked about the upcoming release was exactly how bands would describe their music in 1989. Except these guys are my age, in their early 60s. They are clearly young at heart, and still sharp as ever. But with 30+ years more wisdom at their disposal, and they talk smarter, which is refreshing (many of these metal guys purposely sound like they're still in grade school). They have a new drummer, but the key members of Tommy Vetterli (guitar) and Ron Broder (bass / vocals) are onboard. Also of interest to me is that the album has been exceptionally well received. You almost never see this from legendary thrash metal bands of the past. Witness what's happening to Dark Angel's latest. It currently sports a sub 2 rating on RYM (that's really bad). Coroner is rated number #23 overall for 2025, with a similar rating to their classics, and is likely to continue to go up with more ratings from users. For a tech thrash band on a 32 year hiatus, that's nothing short of incredible.

OK, I wrote the above before hearing one note of Dissonance Theory. This also represents the first album for me to hear that was released in 2025. Perhaps one last build up before lift off. Here we go. Let's see where this takes us.

Wow. Just wow. I listened to the whole thing without typing one letter. That's what Coroner does. They entrance you into their world, and don't let you out until it's over. What's impressive about Dissonance Theory is that it sounds 100% like Coroner, without repeating the past. The opening is very much like Grin, atmospheric then followed by fast and heavy riffing. Soon, Ron Broder begins singing in his unique snarling manner. He sounds exactly like he did in his prime. Whether that's through the aid of technology or he's ageless, I cannot say. New drummer Diego seems more active than his predecessor which is only a plus. Dissonance Theory doesn't follow the same path as Grin, which continued to get slower, moodier, and more pissed as it went on. 

The new album varies the tempo throughout, but never gets hyper technical as it did on Mental Vortex. From a flow perspective, it probably ties closest to No More Color. The production is brilliant. You can hear every nuance, from the gritty guitars to the atmospheric electronics. On that topic, I noticed that "guest" keyboardist Dennis Russ happens to also cowrite every song with Vetterli. He's an American who also contributed to the production and lyrics. As the album progresses you begin to hear just how off kilter the rhythms can be. That's the disorienting magic of Coroner. Repeated listens will only increase the rating for Dissonance Theory. This I know from experience. I'm sure I won't hear it as much as I once did for Grin, but as I talked about with Iron Maiden, we have so many options today that's it's difficult to focus on one album for so long. Despite saying this, I'm on my second straight listen as I type this out.

Highlights are tough to spot, though the opening sequence is exciting just due to the newness of it all. And that Coroner are back. Real thrash is back perhaps to say. I enjoyed 'Crisium Bound' as a great example of how Coroner operates on their own time signatures.'Transparent Eye' is another example of this phenomena. 'Renewal', the last proper song on the album, happens to also be its most thrashy, heavy, and complex. And not to forget the legacy of 'Host', 'Prolonging' closes the album with metal combined with a wild Hammond Organ solo from Russ. More of that would be insanely welcome.

I sure hope Coroner doesn't wait another 32 years to get back in the studio. Because if they do, they'll need a real coroner. I'll be 93, and so will they. So let's get a move on fellas.

Ownership: 2025 Century Media (CD). Booklet with lyrics, photos, and recording details. Nice artwork that honors their heritage well. Acquired in 2025.

11/24/25 (review)

Also own: R.I.P.; Punishment for Decadence; No More Color; Mental Vortex; Grin

11/24/25 (new entry)

Dark Angel ~ USA ~ Los Angeles, California

Time Does Not Heal (1991)

Dark Angel were one of many metal bands I missed real time. Not sure why I didn't pick this album up at least, given that this was the one branch of metal I was still buying back then. That of technical thrash. About 15 years later, I picked up this used CD (very used it turns out, and can't even remember why I bothered to get it). My initial reaction wasn't positive, where I wrote the following notes: "An exhausting and messy thrash album with a bazillion riffs." Another decade after that, the album clicked with me in a big way. And here we are again, yet another decade on. I cannot even imagine how the vocalist could remember all the lyrics on Time Does Not Heal, they are so numerous. Genius level I would submit, though the trade off is he doesn't really sing, but rather recites in a monotonous way. He sings just as much as both guitarists fly through riff after riff. The album is famous for just that as it proclaimed rather boldly there are 246 riffs here. Is that some kind of record? Maybe, I have no idea. My initial cynical reaction was "246 riffs, and not one melody." That's true actually, which doesn't take away from my enjoyment here. It's also not very progressive really, more of a constant change of the riff, not the music or meters. Technical thrash is such a pleasure to hear when in the right mood. Especially if the production and guitar crunch is excellent, as it is here. You'd think something like Time Does Not Heal would be difficult to endure for 67 minutes. But it's not really - it flows rather nicely. And it never - I mean never - stops moving all over the place. I do think, though, taking one or two songs in a session will produce better results. These guys were insanely talented. Especially drummer Gene Hogland, who is considered an A-lister, and has participated with many collectives, just as in the jazz world. Interesting to note, despite the huge cult following the band has, this album is not considered one of their good ones even by their dedicated fans. And this was to be it for Dark Angel, until interestingly enough, last month (who knew?). Their new album has been met with serious derision. The opposite of another 80s / early 90s legend that recently reformed and I will be talking about (excitedly I hope) within the next month.

Ownership: 1991 Combat (CD). The microscopic lyrics take four pages of the foldout booklet.

5//05 (acquired); 5/22/16; 10/27/25 (review)

At one point I owned the two albums that preceded Time Does Not Heal. These are different in style and I didn't care for them. But I'm up for a revisit if and when I find them again.

10/27/25 (new entry)

Deathrow ~ Germany

Raging Steel (1987)

I'm a huge fan of the last two Deathrow albums, a wonderful example of tech / prog thrash. I didn't personally discover this German band until the mid 90s, and don't really remember them from college. I never bothered to go further back in their discography because I was informed these albums were more simplistic. But I didn't want to pass on the original LP especially since it was right in front of me. Well it's certainly true that Raging Steel isn't a dizzying array of riffs and tempo changes like Deception Ignored. But it isn't brainless either, as there are plenty of shifts and turns. Some of the tracks are too fast for their own good, calling on their Teutonic heritage of Sodom and Kreator. It's also not as heavy as the Destruction album I just posted about, but the guitar solos are much better, perhaps as a result of focusing more on musicianship. The vocals are more "metal standard" without the histrionics you often get with the 80s groups. I think the production could have used a boost of oomph. I found it interesting the album gets more complex as it goes, foreshadowing their next move. I really like this band.

Ownership: 1987 Cobra (LP). Acquired in 2024.

12/27/24 (review)

Deception Ignored (1989)

I was a little late to the party regarding Deathrow. It wasn't until the mid 90s that I got a hold of Deception Ignored on CD. But once in possession, I knew I had a lasting winner. There's a type of progressive (or technical, if you prefer) thrash that I truly enjoy, and Deathrow play it. Very much in league with the early Psychotic Waltz albums. Incredibly dense, yet still melodic, and freaking batshit crazy on the rhythms. It's a nonstop assault on your senses. It wasn't until recent years that I purchased their 4th album Life Beyond (which is relatively similar to Deception Ignored). And to this day, I have yet to hear their first two albums, though I understand them to be more straightforward thrash. I'm sure I'll hear them at some point (ED: see above)

Ownership: 

1989 Noise (LP). Acquired in 2017.

1989 Noise (CD). Acquired in 1996.

1996; 5/13/12; 4/15/20 (review)

Also own Life Beyond.

4/15/20 (new entry)

Canvas Solaris ~ USA ~ Georgia

Spatial / Design (2003)

Spatial / Design is the debut for Canvas Solaris and also my introduction to the band. The type of hyper complex yet messy thrash that Canvas Solaris were peddling in, had mostly stopped a decade prior. It was a welcome reprieve to the onslaught of the same old power and prog metal albums saturating the shelves during that era. Not only is this complicated but there are no vocals either, so the music has to carry the weight. Similar to Spastic Ink in that way. But whereas the latter was too much guitar soloing, Canvas Solaris manages to keep it grounded with the almighty riff and they even throw in a melody or two. Admittedly there's nothing that memorable here, yet it still remains highly satisfying on two straight listens. I think the EP format is perfect for music such as this. 26 minutes of tech thrash is like a triple album's worth of classic rock. I continued with the group and own two more of their albums, which I certainly need to revisit. I recall those being more professional perhaps to their detriment.

Ownership: 2003 Tribunal (CD). Acquired in 2004.

2004; 9/1/24 (review)

Also own: Sublimation; The Atomized Dream; Chromosphere; Irradiance

9/1/24 (new entry)

Sanctuary ~ USA ~ Seattle, Washington

Into the Mirror Black (1990)

Into the Mirror Black is an improvement on Sanctuary's debut. The tones have more heft and the songwriting has become both more complex and melodic. I really miss this era of metal when it was just as important to craft a composition as it was to demonstrate how complex they can play. Everything here has balance and it never feels like it's going off the cliff. Late 80s Fates Warning comes to mind here, though Sanctuary were more grounded in thrash. And Warrel Dale is the perfect singer for this kind of music. He sings at the higher registers, which was de rigueur back then, but it's well within his range and control. No ball squeezing shrieks here. From here, Dale and bassist Jim Sheppard went on to form the heavier Nevermore, a band that achieved great underground success before Dale's untimely passing in 2017.

Ownership: 1990 Epic (LP)

5/28/24 (review)

Refuge Denied (1987) 

Debut album from Seattle based power metal band that is more famous for their subsequent group Nevermore. The stakes were pretty high for 1987, and while Sanctuary puts in a strong power metal effort, it does pale to some of the competition. Good riffage, but it seems there isn't enough of them. Warrel Dane screams with the best of them, though. Not too fond of Dave Mustaine's hollow and slick production either. Lacks oomph. 

This is one of those albums I feel compelled to keep, primarily because I probably won't find it again. But when the great purge happens, I doubt this one will make the cut. From a release perspective, Refuge Denied was initially issued as a CD, and the LP was an afterthought released a year later. Only one US pressing, demonstrating that Sony didn't expect too much demand, and I'm sure they were right. Hence its obscurity today, like many other albums of its ilk.

Ownership: 1988 Epic (LP)

7/20/23 (review)

7/20/23 (new entry)

Realm - Endless War. 1988 USA-Wisconsin

For their second album Suiciety I wrote (snippets of): "From a musical perspective, it's an astounding achievement... A word of caution for the newbie - the vocals are an acquired taste, just like all bands operating in this genre. He's an air raid siren for sure, but I think it fits the music perfectly. As with many albums in this space, the compositions tend to spray all over the place... In conclusion, there is simply no other album like Suiciety."

---

Well except their debut of course ;-) Jim Bartz is at the controls again, but he didn't infuse this album with electronics like on Suiciety. And honestly the production could have used a boost, all lessons the band learned on their sophomore effort. But as far as the music goes, yep, it's an impenetrable mess of riffs and ideas. Albums like this grow with each listen, and I suspect that will happen here. Realm were simply one of the best at this genre. Apparently they reformed a few years ago. Would be nice to hear them try for another effort.

Ownership: LP: 1988 R/C. Single sleeve. Purchased at Joint Custody in Washington D.C. while there on business (2023).

12/20/23 (new entry)

Mystrez - The Indictment. 1990 Netherlands

On the Savage Steel review I wrote: "Yet another late 80s technical thrash band I was unfamiliar with. I'm beginning to wonder if I was there at all, with so many of these under the radar thrash bands cropping up in my world, some 30+ years after the fact."

And here we are again with yet another tech thrash band I'd never heard of. I keep lists of groups to check out, and this wasn't one of them either. When I was offered up the album, I looked it up, and noticed comparisons to fellow countrymen Osiris, one of the (apparently) few albums I did get to know real time, and have reported here on UMR. That's a no-brainer, I must check out Mystrez then. Who knows what the band name is supposed to mean. Mistress? Mysteries? My Stress? lol.

There's essentially 10 tracks on here with an intro and outro. It's of the genre, so if you like metal that is wild, all over the place, thrashy, and technically challenging, then The Indictment should go on your want list. A couple of interesting diversions: 1) The singer doesn't scream his way through this in ball-squeazing fashion. Rather he takes the barking matter-of-fact approach (but not grunting, it's very clear what he's trying to convey). The other is the soft ballad that closes Side 1. I quite like it because of its placement. Generally these tracks are put up front to set the opposite atmosphere so that the band can pulverize you afterward. But placed here, it's quite soothing.

While researching this album, I learned about a few more bands and albums that are similar to Mystrez. Like I asked prior - was I even there? Apparently not. I find music like this timeless, and have no qualms about adding more to the collection.

Ownership: LP: 1990 Bad Taste (Germany). Single sleeve. Purchased from JL before the Denver record show about 2 months ago. Bizarre cover.

6/4/23 (new entry)

Anacrusis ~ USA ~ St. Louis, Missouri

Screams and Whispers (1993)

Screams and Whispers is Anacrusis' 4th and final album (for all intents and purposes). And as you see below, it was their 3rd album that I held in the highest esteem. And while I always enjoyed Screams and Whispers, it never transcended like its predecessor. It has now. I have them on equal footing, and it could very well be my favorite when it's all said and done (still need to revisit Manic). But why are Anacrusis resonating with me more now than ever? It's the 80s influences that I missed on initial impact. Their techy / proggy thrash approach appealed to me right from the get, but I didn't capture the influence of their love of 80's music. In particular, on what I just noted on Theatre of Hate - Post Punk. Anacrusis admits a strong affection to acts such as The Cure and New Model Army and it shows when focused on it. And true to the tech thrash genre, the music is all over the place and unpredictable. When they sing in softer tones, the 80s Music element is clear. And then Nardi starts screeching like a banshee pointing to their primary metal motif. One of the most bizarre mixes one can hear, and the music is timeless because of it. If you haven't heard these Anacrusis albums - or you did back in the day but were nonplussed - give them a shot. Your filters have probably changed. I know mine have. Brilliant really.

Ownership: 1993 Metal Blade (CD). Acquired in 1993.

1993; 7/22/13; 3/25/23 (review)

Reason (1990)

My first encounter with the St. Louis based Anacrusis was with their 3rd album Manic Impressions, which I purchased real time. It quickly became a personal favorite, and I look forward to telling that story some day. Within the next two years I also picked up their 4th and final album Screams and Whispers, while also finding their debut Suffering Hour on LP at a St. Louis record store. This chronology is important, as while I loved their 3rd and 4th, I really couldn't deal with the raw and pseudo-deathy Suffering Hour (an apt title BTW). In fact, it's one of only a handful of metal LPs I've sold in the last few years, as the final listen continued to leave me cold. So I never did hear the album "in between", as I was never quite sure which side of the aisle it would sit in. The scant reviews were never definitive enough for me to pursue in earnest. 28 years later, I finally gave in to that curiosity. That album, of course, is Reason.

Without a doubt, Reason is a departure from the debut and lays the groundwork for their masterwork Manic Impressions. There are a couple of places where they lose their mind, and go blast-beat guitar-solos million-miles-an-hour, but for the most part Reason has that same yin / yang approach that make Anacrusis so fascinating. It's my kind of inventive thrash with seemingly unrelated riffs coming at you at various angles. Kenn Nardi's schizophrenic vocals, at once soft and calm, at others shrieking like a mad man, continue to fascinate. Turns out that The Cure was one of their primary influences at the time, which may explain its dual personality. Anacrusis is a band you do not want to have as background music while doing other things. You will be annoyed if approaching the music that way. They require your full attention. But you will be greatly rewarded. As with all albums like this, I'll need more time to absorb it, but it's likely to only grow in stature. Essential for fans of that odd strain of progressive thrash that existed in the late 80s and early 90s.

Ownership: 2019 Metal Blade (CD). Recent online acquisition. Digipak with lyrics and photos. No liner notes, which is a bummer. 

3/10/21 (review)

Also own Manic Impressions.

3/10/21 (new entry)

Toxik - This This. 1989 USA-New York

I wasn't sure where I was going to land on Think This, Toxik's second album. The CD I purchased includes their debut World Circus, and I struggled with it. The production is very tinny and it seems to have as much in common with punk as it does thrash. The irony there is that it was recorded at Morrisound, the epicenter of the death metal movement. They were just getting rolling with that genre when Toxik arrived, and it just seemed they didn't know what to do with the group's sound.

Think This is much better fortunately. Even though Toxik is one of the more (relatively) known bands in the tech thrash space, they were by no means one of the more radical or heavy. Their sound fits the late 80s style, with herky-jerky rhythms, air raid siren vocals, gang choruses, crazy solos and riffs. It's like a stripped down Realm without the electronics. I also heard a prototype to where Heathen would land on their classic 1991 album Victims of Deception - especially the documentary narratives.

Ownership: CD: 2022 Dissonance. 2xCD with attractive tri-fold digipak. Excellent reissue that includes both of their albums in full. Insightful historical liner notes and additional photos round out this fine collection. If I ever warm more to World Circus, I'll feature it separately.

11/15/22 (new entry)

Voivod - Dimension Hatross. 1988 Canada-Quebec

For my review of the prior Killing Technology I wrote: "It's still not my favorite type of thrash metal - and it is noisy. I think part of the issue I had was the date itself. 1987 is awfully late for this kind of post punky scratchy thrash with screamed vocals. I wanted some muscle in my music! Killing Technology is not heavy in my opinion. But it's definitely still thrash metal. Metallica was already on their 4th opus, and continuing to progress - at least technically. On close listen, Voivod is also technical, but it's lost in the barrage of sound. But I have to give Voivod credit - they just keep coming at you. This album is relentless in its riffing. There are no breathers here. They're going for broke for the entire 40 minutes. I hadn't really given this much thought before, but there are parallels here with the first Coroner album, another band that was a little late to the party, but improved exponentially in a short period of time. I could see this album growing in stature for me, now that I have my mind adjusted to the contents within. Gee, I really need to hear Dimension Hatross sometime..."

And that day finally arrived. Are there many differences to the above? Not as much as I had expected, but yes there are. They're still pretty noisy, but the sound is easier to dissect and digest. The vocals are becoming more softened and melodic. And the music is even more complex. They're still not that heavy - certainly nowhere near where a lot of bands were in 1988, which is clearly emerging as the prog year 1973 of heavy metal. I always wondered where Thought Industry got any of their ideas, their debut album being so unique. But one can hear some similarities here. The Milwaukee band Realm also comes to mind with the use of electronics. I love these make-it-up-as-you-go-along albums. I'm beginning to realize that metal had more of these albums than even progressive rock when it comes to sheer inventiveness.

---

In addition to the above, the CD I have includes a full show from Montreal called Spectrum '88 - A Flawless Structure? While normally a live show by a metal band doesn't pique my interest much, I was most curious how Voivod would sound minus the studio dressing. It's most interesting to hear these compositions in raw sound, but in general the music held its own. Sounding more like a progressive Motorhead at this point. Also fun to hear the band bantering with the audience in "street French". Very enjoyable on the whole and worth owning with the studio album.

Ownership: CD: 2017 Noise (Europe). 2xCD + 1 DVD. Triple fold out digi-pak with complete liner notes, a full concert, photos, and a DVD filled with more shows and outtakes. I haven't seen or heard the DVD yet - for another day. It's not easy these days to get me to buy a new CD online unless I find it at a thrift shop. But this one is a no brainer. What a great overall package. It's also likely to prevent me from paying retail at a record store for the original LP, though I could always luck out and find it - I'd keep both then. 

9/24/22 (new entry)

Realm - Suiciety. 1990 USA-Wisconsin

I was most excited to revisit Suiciety when it came up on a random search. You all know how much I enjoy the tech (or prog) thrash genre. There were three albums that got me into the scene originally: Sieges Even - Life Cycle, Watchtower - Control and Resistance, and Realm's Suiciety. And to take that even further, this was the very first metal album I purchased new on CD, as the LP was scarce at the time, and vinyl appeared to be going the way of the dodo anyway (how times have changed).

From a personal standpoint, Realm's second and final album has a lot of meaning. From a musical perspective, it's an astounding achievement. Even though I had a very high rating on it already, I managed to squeeze a +1 into this listen. A word of caution for the newbie - the vocals are an acquired taste, just like all bands operating in this genre. He's an air raid siren for sure, but I think it fits the music perfectly. As with many albums in this space, the compositions tend to spray all over the place. The production is brilliant, and really brings out the bass here, which is some of the best I've ever heard on a metal album. This guy could replace Steve Harris (Iron Maiden) in a pinch if ever needed. Best of all is the use of electronics. And why is that? The producer was none other than Jim Bartz, who had recently saw some success with his first solo electronic album only 3 years prior. An odd choice, but a great contrast is offered. In conclusion, there is simply no other album like Suiciety. For that alone, it will remain immortalized in my collection.

Ownership: CD: 1990 Roadracer. Jewel case with booklet containing lyrics. Purchased new upon release as discussed above, from a local metal store in Richardson (Dallas area).

6/5/90; 10//14; 6/25/22 (new entry)

Savage Steel ~ Canada ~ Toronto, Ontario

Yet another late 80s technical thrash band I was unfamiliar with. I'm beginning to wonder if I was there at all, with so many of these under the radar thrash bands cropping up in my world, some 30+ years after the fact. Savage Steel were a Toronto based group who released 2 albums before disappearing. As I sat down and prepared myself for the onslaught to commence, the first notes were a shock to the system. This didn't have the production values associated with 1988, but rather it sounded like a crude demo from 1982! Somewhat surprising given that this was released on a relatively large label (Frank Marino was one of their label mates). But once the ears adjusted, the music flowed perfectly from there. Everyone complains about the vocals, but to me that's the same thing as complaining about Italian prog rock vocals. The high pitched shrieks were "of the era" and "of the genre". Certainly more appealing than Sieges Even's original vocalist, and I enjoy his as well. It goes with the music. There's some great riffage on Do or Die, and the tracks go all over the place, per protocol. There are no surprises here or epic moments, but it's all solid fare with no weak spots either. Not the place to start if getting your feet wet in prog thrash, but definitely a good late inning pinch hitter.

Ownership: 1988 Maze (LP). Acquired in 2022

1/13/22 (review / new entry) 

Spectral Incursion - Anthology. 1986-2010. USA-Massachusetts

And the hits keep on coming. Add Boston's Spectral Incursion to the ever growing list of unknown late 80s American metal bands that were pushing the creative envelope beyond its wildest dreams. Originally known as Graven Image, Anthology captures every song the band ever released + unreleased demos and newly recorded material. Like Slauter Xstroyes, the music is not particularly heavy, but it certainly belongs to metal. And the songwriting is as random and nutty as the aforementioned SX. In fact, I think their earlier material when they were still Graven Image may have been their peak, at least in terms of creativity. But by 1991, the band were clearly a honed in professional unit. It's a tragedy they never could get past the private cassette stage. If tech thrash, or what we used to call technical metal, is your bag then Spectral Incursion is an easy recommendation. File along with first album Sieges Even, Watchtower, and the rest of them.

Ownership: CD: 2011 Stormspell. Recent online acquisition. Great 2 CD set chock full of liner notes and music you aren't going to find anywhere else. Originally released as a numbered edition of 500 copies, the label apparently went for a repress, as my copy is not numbered, nor is there space to place a number. As such, the CD is still readily available. I can't imagine that always being the case, so grab it while you can.

Forbidden ~ USA ~ San Francisco, California

Twisted Into Form (1990)

After hearing Forbidden Evil I was most excited to check out this sophomore effort. By all accounts, Twisted Into Form features better songwriting, production, and was even more complex than its predecessor. And given this was from 1990, right in the epicenter of the prog thrash movement, I figured this would go into my all-time favorites stack for the genre. Everything proved to be true from my above statement, except the conclusion. I preferred Forbidden Evil. It starts off - as one person humorously stated about another metal album - with the Federally mandated clean acoustic guitar instrumental. And of course this leads to the inevitable bludgeoning of 'Infinite'. At this point my hopes were super high, as this track just kills with riff after riff, and multiple thematic changes. After this comes 'Out of Body', and the album begins to lose its luster. I'm waiting for the quirks of the genre to show up, the make-it-up-as-we-go-along aesthetic. But it's all too... too... professional. In this way, I'm most reminded of Testament and their transition from the rough and ready Legacy to the polished New Order. From a pure ratings perspective I find Twisted Into Form about the same as Forbidden Evil, but the latter has more potential for growth in this area. Other great tracks include the lengthy 'R.I.P.' and the closer 'One Foot in Hell'. It's a great album, yes everyone is correct on that front, but it's not unique enough to stand out as a pillar. Bummer.

The CD also includes a reissue of their EP entitled Raw Evil 1989 - Live at the Dynamo. On paper this looks great, as it features three tracks from their debut plus Judas Priest's masterpiece 'Victim of Changes'. Had I bought this real time after Forbidden Evil, I would have been completely disappointed. It starts with the Priest track. Quick history of 'Victim of Changes': This was a blues rock piece, going back to the early 70s, written by Judas Priest founder and original vocalist Al Atkins. It made its debut on Sad Wings of Destiny (1976) and proved to be a superb hard rock meets progressive rock number while still maintaining its blues foundation. But it was on 1979's Unleashed in the East, that the track became one of the greatest metal songs of all time. Priest amped it up from hard rock to metal, and added an incredible amount of emotional intensity. Gives one goose bumps just thinking about it. So what will a talented thrash band do with such a masterpiece? Ruin it, that's what. 'Victim of Changes' calls for subtlety and proper pacing. Forbidden rushes through it as if they have to go to the bathroom. It's a horrible rendition and they would have been far better served to cover something like 'Exciter' or 'Killing Machine'. I think only a progressive rock band could tackle 'Victim of Changes' and make it unique and exciting. The other three tracks are typical metal concert fare. With a husky voice: "This song is [about][comes from]" (unintelligible) blaaahhhhhrraa (cue high hat) - then huge racket ensues. It's not that they can't play live - they most certainly can - it's just so much gets lost in translation. The studio brings out the best of most bands like this.

Ownership: 2008 Nuclear Blast Germany (CD)

1/23/21 (acquired / review)

Forbidden Evil (1988)

By 1988 my interest in metal had waned significantly. I was interested in new and different kinds of metal, but primarily my focus had shifted almost entirely to international progressive rock, in particular Italy had become my new drug of choice. So when Forbidden showed up on the stage, they were touted as yet another Bay Area thrash metal band. That ship had already taken off as far as I was concerned. Having been a diehard for the previous five years starting with Metallica's Kill 'em All, I had absorbed quite a bit of the style up to that point. My personal bookends to this scene were two new bands at the time: Testament and Death Angel. The last semester in college, they were to be my swansong of managing my anger while trying to get my engineering degree. After that, a new day was born.

I provide this introduction for context. For if Forbidden Evil had been released just one year prior, it would have been my favorite from the current new crop of bands. In reality, Forbidden were tapping into the progressive thrash market, something that bands like Metallica had dabbled in, but never focused on. Over the years, I continue to add metal albums from the late 80s and early 90s that were performing music similar to what Forbidden are here. It's complex, yes, but also heavy (in a rough sort of way) and the tunes are very interesting, constantly weaving in different directions. 'Through Eyes of Glass' in particular sees Forbidden at their most creative. Of course the solos tend to be a million miles an hour, which was de rigueur for the day, so those tend to lack impact over time. And there's also this strange pig squeal guitar noise that pops up here and there, which begins to sound like a gimmick after awhile. Small gripes on an otherwise excellent effort.

Ownership: 2008 Nuclear Blast Germany (CD). Contains a short history, lyrics, photos, and memorabilia. There's also four live bonus tracks. Like most metal bands, they tend to be raw run-throughs of the studio material. Improvisation is not one of the major tenets of the thrash genre.

1/21/21 (acquired / review)

1/21/21 (new entry)

Blind Illusion - The Sane Asylum. 1988 USA-California

Blind Illusion were yet another Bay Area metal band who featured two members that later were to form Primus. The Sane Asylum is an album I bought upon release based on the overwhelmingly positive reviews, promising a highly creative thrash metal effort. At the time it did not click with me, and a few years later I parted with it. Recently I had another opportunity to pick an original up at a reasonable cost, and this time I'm enjoying considerably more. So what was the original problem and why is it more appealing now? It's the production - or lack thereof. It's incredibly thin, and you really have to crank up the stereo to get any kind of impact. In 1988 I would have been looking for more crunch and heaviness. Today that isn't as important as the compositions themselves, which really are wildly all over the place - within each song. I've always enjoyed this era of late 80s metal when bands were making it up as they went along. Controlled chaos. Still, this is no prog album and there's no question of its metal heritage, but the impact is diminished by its production.

Ownership: LP: 1988 Combat. Recent online acquisition.

Synaptik ~ England

Justify & Reason (2017)

In my notes for Synaptik's debut The Mechanisms of Consequence, I mentioned the album essentially constituted a facsimile of a 3rd full length Watchtower album. Since I'm not overly familiar with the album beyond that session, I'll need to rely on my past scribblings. I bring this up because Justify & Reason does not remind me of Watchtower, or tech thrash much at all. Certainly those elements are present, but this one feels much more heavy and - dare I say - modern.

England's Synaptik have a long history with technical styled metal, going back to the late 80s with the awesome Inner Sanctum and then later with the even more obscure Fifth Season. On those past albums, I didn't hear this kind of heaviness. The vocals fortunately are melodic and well done (though occasional shouts and screams are of course necessary), a bit toward the emotive side that can often water down releases such as this (but doesn't here). There's only five tracks on Justify & Reason, each sailing past the six minute mark and beyond (totaling near the 35 minute EP length). It's certainly still complex, but that's not always the case either. I've seen references to Nevermore and Zero Hour, and those groups aren't too far off the mark. I know in some circles I'd get shot for saying this, but one can also hear Meshuggah and Machine Head as well.

With music that is as involved as Justify & Reason, one already inherently knows multiple listens will reveal more each time. These veterans do not seem close to slowing down, despite a lack of any kind of large scale commercial success.

Ownership: 2017 Divebomb (2xCD) Includes a remix of their debut. Supposedly heavier, I didn't listen to it. At some point I'll need to compare the two versions.

3/16/19 (acquired / review)

The Mechanisms of Consequence (2014)

Wow. Talk about never say die! This is the 3rd iteration of the Inner Sanctum / Fifth Season technical metal genealogy and comes 17 years after their last studio album. What we have here is basically what would constitute the 3rd Watchtower album (Alan Tecchio even guests on vocals!) but with those irresistible blazing Mekong Delta riffs propelling it all forward in an exciting way. This is technical thrash at its best. Melodic vocals, crushing riffs, mathematical impossibilities. Yee-haw!

Ownership: 2014 Rebel Tune (CD)

3/28/15 (acquired / review)

3/28/15 (new entry)

Skeptic Sense ~ Germany

Presence of Mind (1994)

Skeptic Sense were a band from Ravensburg in southern Germany who released this one incredibly obscure CD and then disappeared without a trace. The story is a familiar one. The label they signed with goes into bankruptcy right at the point of release. No promotion, no wholesale, no reviews, no anything. Even for fans of the style, there would have been little chance to know about this release unless you were tied to the band in some way. It wasn't until years later, the album was rediscovered by deep divers.

Skeptic Sense is a bullseye for the technical thrash metal genre. Imagine Watchtower's Energetic Disassembly and Sieges Even's Life Cycles thrown into a blender. Mix. Pour into a baking dish and let dry. Then cut that up, toss it onto the floor, and then randomly put it back together. That's the sound of Presence of Mind. It's not easy to keep up, and for certain you will have no idea where the music is going. It's 60 minutes of music packed into 33. But the music is definitely heavy, and they do manage to hit a groove here and there, so it's not entirely disjointed liked a spliced tape or something. The tracks do seem composed, perhaps even charted, and the vocals are of the high pitched ball squeezer variety. Fair warning.

These kind of albums grow with age, and multiple listens reveal more each and every time. Well worth ownership status.

Harmony of Souls (1991) + Demonstration I (1990)

Mind Versus Soul contains the entire 1994 Presence of Mind album noted above + the Harmony of Souls (1991) and Demonstration I (1990) cassette tape releases.

The music on the earlier cassettes is, not surprisingly, very similar to the Presence of Mind album. Perhaps a bit more straightforward with less variation among the instrumentation, and a bit heavier / rawer. It's likely these earlier albums are easier to digest for more traditional heavy metal fans, but still quite challenging. Even though all the tracks save 'Last Moments' (from Demonstration) found their way onto the later CD, there's enough variation among them to appreciate each version. For example 'Norm Always Wins' is on all three, and yet it's hard to recognize. Of course music like this is hard to recognize from the get. We're miles from verse-chorus-verse-solo-chorus sequences here.

All in all a great anthology, and for fans of technical thrash, this is a must find.

Ownership: 2016 Divebomb (CD). The booklet is loaded with historical liners (extracted via interview with the band), photos, newspaper articles, and lyrics. Acquired in 2019.

2/7/19 (review / new entry); 6/24/26

Inner Sanctum - Knowledge At Hand. 1989-1995 England (archival)

Holy Smokes! This is the good stuff right here. Fans of progressive metal meeting technical metal will be pleased with this archival compilation from Inner Sanctum (pre Fifth Season for the five people who have heard that CD). It features 6 demos, of which 5 of them sound like early Watchtower meets Psychotic Waltz. Very complex metal, yet they never lose sight of the song. And the vocals are somewhat in control, so it isn't non-stop ball squeezer shrieking. Being British, they have an inherent knack for more restraint than their American counterparts - at the points where restraint is needed. I suppose if I had to pick a favorite demo, it would have to be Sensorium (1992) which shows Inner Sanctum at their heaviest, and perhaps most technical too. First demo Fear is Life's Blood (1989), is almost a completely different lineup and the band here is more in the Slayer / Celtic Frost mold. Certainly not a bad thing, and enjoyable in its own right. Different that's all.

Personal collection
CD: 2013 Divebomb (USA 2xCD)

This is a 2 CD set and features full historical liner notes via an interview with the band - and many photos. A must own item that will for certain provide enjoyment over many repeated listens.

CD1:
Tracks 1-3: Knowledge At Hand (1995 demo)
Tracks 4-9: Questions? (1994 demo)
Tracks 10-12: Shine (1993 demo)

CD2:
Tracks 1-3: Sensorium (1992 demo)
Tracks 4-6: Static Veins (1991 demo)
Tracks 7-9: Fear Is Life's Blood (1989 demo)

Today the band has been rechristened Synaptik, and their debut turned out to be awesome as well (see next post).

Last listen: February 24, 2015