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)

Sepultura ~ Brazil

Beneath the Remains (1989)

Sepultura first came across my radar while still in college, and to my ears back then, they were just too primitive for me to get into. They were getting rave reviews in the metal mags at the time. I believe I first heard Morbid Visions (1986) which, even for fans, is some tough sledding. And that was really it for me and Sepultura. Which is too bad, because by the time of Beneath the Remains, we would have been on parallel paths for where we wanted thrash to go. I was deep into the Euro prog underground by then, and while still very much interested in proggy thrash, I guess I had already written off Sepultura. My loss.

Fast forward to 2017, and now I'm traveling down to Sao Paulo for business. In order to be on time at work Monday morning, it requires a late Saturday night flight from the US. Thus leaving Sunday afternoon open for strolling and a nice dinner. Fortunately my company allowed us to stay at ritzy hotels in safe, leafy neighborhoods. Like the Jardins. And what do people on Sunday do in Sao Paulo? They walk Avenida Paulista. There's many music acts you can catch for free while walking. Including metal. And there were at least three bands emulating Sepultura who were legend by that point. They were all fun to watch and got me into the mood to check some of their material out.

A couple of years later I ended up acquiring five titles on CD in a bulk buy, including the one I'm listening to now. I didn't write about it then, so Sepultura makes its UMR debut today. Beneath the Remains is on the heavier and darker side of the thrash genre, recalling the German groups Kreator and Destruction. The riffs are inventive and change quite a bit. While it's not really progressive in the traditional sense, the riffs are mixed up quite a bit to keep it interesting. Similar to Dark Angel in that way. The vocals are one step away from death metal, very angry and to the point. Not as powerful or accomplished as Tom Araya of Slayer, but we're in the same ballpark. Overall I think this is where I wanted to hear Exodus go, and they never did. Beneath the Remains is further proof that the late 80s were the golden era of thrash.

The first bonus track is a cover of a Mutantes song, done Sepultura style and sung in Portuguese, so there's something to ponder. 

Ownership: 2007 Roadrunner (CD). Booklet with lyrics and historical liners. Acquired in 2019.

11/23/19; 3/2/26 (review)

3/2/26 (new entry)

Flotsam and Jetsam ~ USA ~ Phoenix, Arizona

No Place For Disgrace (1988)

I figured it wouldn't be too long before I became reacquainted with No Place For Disgrace, and that day has finally arrived. I talk about this album in the Doomsday For the Deceiver review as being the only real time exposure I had to Phoenix's finest Flotsam and Jetsam.

This was the era that was transitioning from straight up thrash to more progressive realms, in particular the technical metal movement, sometimes known as progressive thrash. I remember being pleased with the album upon first listen, but as time went by, I began to hear it as more ordinary thrash. Today the phrase "ordinary thrash", especially from the late 80s, is a much welcomed guest. I was rather certain I would enjoy this album far more than my contemporary rating suggested. And that prophesy has held true.

The opener packs a wallop, and I think even when I was at my lowest point with the album, I would concede it was the highlight here. No Place For Disgrace catches the band at the professional Metallica level, perhaps two years too late to truly cash in, but certainly a great addition to the second wave of bands coming through like Testament and Death Angel. It's definitely heavier than their debut, and arguably more technical. The songwriting isn't quite at the Metal Church level, but it's certainly thought through. Listen to 'Escape From Within' as but one example. This isn't bonehead metal in the slightest. I think a few more curveballs per track would have placed them at the vanguard with the more proggy thrash bands of 1988. Regardless, still an excellent representative of 80s thrash.

Ownership: 1988 Elektra (LP). First acquired in 1988. Reacquired in 2026.

1988; 2/5/26 (review)
 

High (1997) 

As noted below: "These are the type of albums I hope to find in a thrift bin CD pile." And here we go! I only knew the first two F & J albums, and I documented Doomsday for the Deceiver below. High is their 6th album released at a time when thrash was completely out of vogue. As such there are some trendy groove metal insertions. Eric AK isn't screaming anymore, sounding more like Hetfield during this era. Plenty of wah wah pedal bluesy solos and stoner rock moves. Back cover shows song titles using famous band logo fonts (Iron Maiden, Judas Priest, Metallica, Van Halen, etc...), but it doesn't appear the music matches the style of these bands. In any case High is fairly ordinary heavy metal, an all too common problem for the late 90s. It's good, but nothing more.

Source: 1997 Metal Blade (CD)

8/29/23 (review)

Doomsday For The Deceiver (1986)

My only exposure to Flotsam and Jetsam real time was No Place For Disgrace (1988), an album I picked up and enjoyed but it never bowled me over. I kept it for a long time before ultimately letting it go. I wouldn't have done that today, but it's not a big deal. Only in the last few years did I finally obtain a CD of their debut. Of course I knew who the band were back in the day. If you were a thrash metal fan, who didn't? As any dedicated fan knows, this is the album that bassist Jason Newsted debuted on. Within that same year he would famously replace Cliff Burton in Metallica after he died in a tragic accident. But when this debut album was released, it was a rather obscure and typical Metal Blade thrash release, of which one a week were coming out back then. Doomsday For The Deceiver is meat and potatoes thrash. It's not particularly heavy for 1986, certainly nowhere near Master of Puppets. The dual guitar lines are crisp and melodic, and Eric A.K. breaks glass with the best of them. Newsted does show his massive bass chops here, and at times it seems he's the lead instrument. The guitar solos are a slight cut above, as Flotsam and Jetsam always had an ear for melody. As the years roll by, I do get a nostalgia pull out of this era of thrash, so I enjoyed a +1 listen.

This along with No Place are still the only two albums I've heard by the group, and they are still around to this day. These are the type of albums I hope to find in a thrift bin CD pile. Or vinyl in some cases, but of course they are now price prohibitive if paying retail.

Ownership: 1986 Metal Blade (LP). Lyric inner bag. Acquired in 2022.

First copy and since sold: 1994 Metal Blade (CD). Acquired in 2016.

9/1/16 (first listen); 12/23/22 (review)

Flotsam and Jetsam continues to this day with 15 original studio albums under their belt. As noted above, I'd be up for hearing any that have yet to cross my stereo.

12/23/22 (new entry)

Metallica ~ USA ~ San Francisco, California

Garage Inc. (1998)

It had been my intention to follow up the original Garage Days listen below with the 1998 updated album, as they're both on the same CD. I put it aside, then it got buried under other CDs, and finally forgotten altogether. Eventually managed to find it and put on a listening list, and here we are.

From the below I wrote: "I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different." At least that was the case in the 80s lol. Somewhere along the line, Metallica lost interest in thrash, and by the 90s they were more like a bluesy metal band. And their popularity, at least from a critical response perspective, also sank to the bottom as I also noted in the Hardwired review. Though financially, I seriously doubt they felt the pinch. They obviously don't care about their legacy, and so be it. They are a hell of a lot richer than their brethren, but less respected. So is Elon Musk. Each were once worshipped and now derided by many (and loved by others). Big deal, I'm sure they collectively feel.

If there was an album that afforded them a modicum of street cred in the 90s, it was Garage, Inc. Whereas the covers on the 1987 effort were well researched underground metal, here they are a bit more typical classic rock fare. Not sure I need to hear Metallica cover Bob Seger, Lynyrd Skynyrd, and Nick Cave. Black Sabbath and Thin Lizzy feel obligatory. Doing punk covers, while actually sounding like a punk band, is beneath them. 

So what does that leave? Yea, the 11 minute Mercyful Fate medley. A really great fit for classic era Metallica, and exactly the type of music they embraced a decade earlier. The other is the intriguing choice of 'Astronomy'. Proggy Blue Oyster Cult meets Metallica? Funny to hear Hetfield try to actually sing. I think it's hard to replicate the atmosphere without the piano, but they did an admirable arrangement job here. Makes you wonder what they would have come up with if covering Yes or Genesis? Embarrassing or enlightening? Hey, I wouldn't underestimate them that much. 

I'll keep this CD in the "extra" category, primarily for the bonus tracks on Disc 2, which is mostly 80s material.

Ownership: 1998 Elektra (2xCD) with Garage Days Re-Revisited. Booklet with extensive liner notes and photos. Plus many bonus. Acquired in 2025.

1/19/26 (review)
 

Garage Days Re-Revisited (1987)

After reading the below, it should come as no surprise I bought this EP on Day 1. I don't technically like cover tunes, as I see them as something of a novelty. But in the hands of Metallica it somehow seems different. They make great songs even better, especially in their 80s heyday. And their choices of songs proves once again that they were quite well versed in metal history. Choosing bands like Diamond Head, Budgie, and Holocaust was next level research for 1987. This was the album that introduced bassist Jason Newsted, and a key transitional moment that Metallica wasn't going to give up after Cliff Burton's untimely accidental death. Another one of those albums I have no documentation of hearing since purchase, though once again I know that's not accurate. 

While I'm here I should cover off on the extended 1984 Garage Days Revisited single that includes the devasting 'Am I Evil?' from Diamond Head plus the excellent NWOBHM Blitzkrieg track.

Ownership:

1987 Elektra (EP). Acquired in 1987.

1998 Elektra (2xCD) on Garage, Inc: Disc 2 - Tracks 1-5 (6-7). Acquired in 2025.

8//87 (first listen); 7/29/25 (review) 

Kill 'em All (1983)

It all starts here. This album. The one that put thrash metal on the map, and perhaps was the jet fuel the entire heavy metal genre needed to survive for the ages. As I noted on Accept's Restless and Wild, they lit the match. Metallica took that fire to the torch and scorched the earth with it.

For me personally I was looking for a sound. I didn't know what it was, but I needed a place to burn some pent up energy, both mind and body. By 1983, I was a huge fan of Iron Maiden, Judas Priest, Saxon, the aforementioned Accept album and a few others. Iron Maiden was the closest to what I was seeking, but they weren't ever really that heavy to be honest. But they had the right idea compositionally with 'Phantom of the Opera', 'Hallowed Be Thy Name', 'To Tame a Land', and many others. According to RYM, Kill 'em All was released on July 25, 1983. That ties to my memory as well. It wasn't until August that I purchased my copy (which I still own) after reading about it in Kerrang. The timing is important because it was only a couple of weeks before I entered college. One of those identity defining moments at a key time in life.

I remember hearing the album for the first time and my reaction to it. 'Hit the Lights' was a perfect opener. A lot of albums back then had a perfect opener. But would it sustain? Then came 'Four Horseman'. And there it was - that was the sound I was looking for! The riffs, the production, the meter changes, everything about it was so perfect. ...And it never let up from there. The album was relentless in its pursuit of heaviness with a bit of brainpower. Some of their best tracks can be found here (including the two openers), especially 'No Remorse', 'Whiplash', 'Jump in the Fire', and 'Seek & Destroy'. 

They were to improve dramatically on their next two albums in the areas of songwriting, technique (including vocals), lyrics, and production heaviness. And yet Kill 'em All was already miles ahead of any perceived competition.

As I stated - it was an album that shaped an identity. As noted here a few times, I attended Texas Tech. That school is in Lubbock, in the middle of hardcore West Texas. Country music ruled supreme and many young cowboys from the area went to school there. I had nothing in common with any of them. I was a city kid from Dallas. There were a few of us like that. It would be three months before I even met someone who knew who Metallica was. Instant friendships were bonded in that way. Long haired, torn denim, tennis shoes wearing metal heads in the world of clean cut cowboys complete with hat and boots. The only downside was that all the pretty girls (and there were many of them!) liked the cowboys. Sigh. 

I acquired this album not long after release at a mall record store as noted above. Funny to think about that too. At a mall store... Probably right next to Men at Work's Cargo.

A true story: One early afternoon after class, I needed to burn off some energy (common theme apparently), and was jamming to 'Whiplash'. Two of my dorm mates were walking down the hall. Imagine 6' 4" tall cowboys, tight jeans, boots, and black hats - walking in lockstep. They saunter past my door. They stop and look backwards into my room and ask in a western twang:

 "What the hell is that sh*t?". 

"It's Metallica, dude" 

"What?" 

"Metallica".

"Well that sh*t SUCKS. Keep it down!"

Ownership: 

1983 Megaforce (LP). Lyric inner bag. Acquired in 1983.

Vertigo Argentina (CD). Two hidden bonus tracks taken from the 'Creeping Death' EP: 'Am I Evil?' and 'Blitzkrieg'. Acquired in 2019.

1988 Elektra (MC). With the same two bonus tracks as the CD. Acquired in 2026.

8//83 (first listen); 1//04; 8/8/15; 8/8/24 (review)

Hardwired... To Self-Destruct (2016)

I got this in a bulk metal buy about four years ago. Just now getting to it. No time like the present. There's so much I could say about Metallica, having purchased Kill 'em All not long after being first released (see above). They were so far ahead of the pack in the 1980s, the whole world was scrambling to catch up. And still couldn't keep up. Their last innovative offering was And Justice For All, way back in 1988. Metallica knew that it would have been impossible to stay on top of emerging trends, so they pivoted to a completely new sound. I dropped out at that time as well. Their 1991 album tends to get a pass today (an album I didn't appreciate until recently myself). And everything else they've released since then comes with a cargo ship full of hate mail. If I were to write a fast thesis, it would be interesting to note the fan trajectory of a peer like Iron Maiden, who today is as highly admired as ever before. Which gets us to Hardwired, an album that I should be saying is their latest, but I piddled long enough for them to sneak a new album in. That new album is taking the same poisoned arrows as anything else they're released since the 80s. I liked Death Magnetic (2008), their first album to consider their own legacy. I couldn't tell you much about it, but I do own the CD. But my guess is I'm holding onto to that for the same reason I'm holding on to this. It's probably temporary in any case for both. So what about the music of Hardwired? It's very good actually. Not extraordinary. No chance taking, no ten minute tracks about Celts and Samurai warriors like Iron Maiden is doing (to mixed reviews, but consider me a huge fan of Iron Maiden continuing to push the envelope). Rather Metallica cusses like a 14 year old juvenile delinquent and isn't even that heavy by today's standards. And they were the trailblazers of the modern metal sound. Nothing was as heavy as Master of Puppets in 1986. But Hardwired is almost like juiced up hard rock. They give you one full disc of music on two, and within all those minutes there is some good stuff. But no heart racers as they did in their youth. In the end, the band has nothing to be ashamed of on Hardwired, but they really gave away their place in history long ago. But those first four albums... Wow. (Jun)

Ownership: 2016 Blackened (2xCD). Triple FOC. Acquired in 2023.

6/30/23 (review)

Master of Puppets (1986)

Presumably I don't need to review this album so you can know how it sounds. But what I can tell you is my own story. I was a junior in college when this was released (and purchased on LP - the copy referenced below in fact), and was probably the most anticipated release I can think of... ever. I had already bought their first two albums immediately upon release, and was subsequently blown away by each. That did not happen here. Make no mistake - my rating in 1986 would have been 4.5 stars had RYM existed then. In fact my opinion of this album has remained unchanged in 32 years of hearing it. I love every minute of it. And yet I couldn't help thinking it was a slight disappointment at the time, and even now. Why would I say such a thing about a universally acclaimed masterpiece? Well... think about the debut and then the follow up. Both were mind numbingly creative for their time. Master of Puppets was more or less a repeat of Ride the Lightning - more perfected sure, and objectively better. But subjectively perhaps not. Gone was the raw creativity, and in was the pure professionalism of it all. From here, Metallica continued in a similar manner - to the point of losing focus altogether. So Master of Puppets was the beginning of the end, though it didn't seem that way at the time. Yes, of course, it deserves all the accolades it gets and I'm one of those positive voters. 

Ownership: 

1986 Elektra (LP). Acquired in 1986.

Vertigo Japan (CD) Papersleeve. Acquired in 2015.

3//86 (first listen); 8/13/15; 7/30/18 (review)

Ride the Lightning (1984)

To truly appreciate Metallica, I think it's important to understand the history. When Metallica debuted with Kill 'Em All, they had rewritten the rules of metal as we knew them. There just simply wasn't any band playing that heavy, that fast, and that clear in those days. Sure it was a bit simple minded, and the lyrics were a little on the bonehead side, but still the album had most young males heart racing faster than Secretariat at the Derby. It was an exciting beginning, and Metallica could've stayed with this style and been heralded as a pioneer much in the same way we view Motorhead and Iron Maiden.

Then came Ride the Lightning. Metallica still hadn't ironed out all of their contractual deals with Elektra, and I happened to be in London at the time of its initial release. Their UK deal was with the relatively minor underground label Music For Nations, and I just couldn't wait and bought the album at HMV. And dragged it with me for another two weeks. It's a decision I never regretted (and still have my well worn LP copy, that will stay with me until the end).

The album opens with 'Fight Fire With Fire', and that track still gets my adrenaline up. James Hetfield's vocals, as Xavier Russell hilariously noted in Kerrang at the time, was more like "Fight Vodka With Bourbon". It's been almost 25 years since Ride the Lightning came out, and tens of thousands of metal albums have copied every note of this album, with better production techniques and STILL I'm blown away by this cut. Consider that there was a time when I would hear this song almost every day! This is followed by the title track, an awesomely mid paced super heavy song, that is as melodic as it is pulverizing. And so it goes through the remainder of the album. One big jaw dropping event. Especially for 1984. The band had improved exponentially on an already impressive debut. The songwriting has an almost progressive rock quality to it. And the band made a conscious decision to take an intellectual Iron Maiden approach to the lyrics. So instead of metal armies, banging that head that doesn't bang, and other testosterone fueled brainlessness, Metallica opted to sing about the ethics of capital punishment, cryogenics, the anguish of contemplating suicide, the Egyptians perspective of Passover, and musical interpretations of Ernest Hemingway and H.P. Lovecraft. WHAT? How could any one band rewrite the rules so fast?

In effect, Ride the Lightning was so far ahead of the curve it would take years for anyone to catch up. One can argue that Master of Puppets is a stronger album, as it took the Ride the Lightning concept and improved on it. But it seemed a little more clinical and less of the moment. By ...And Justice For All, Metallica were reaching for even more creative ideas. But it wasn't right. Their heart wasn't what would later be called a progressive metal group. It was a bit too wooden for their own good, though still a fine album. And their playing of 'One' at the Grammy's was a watershed moment for heavy metal overall. From here they lost their way to the hardcore original fans... and for many others they were just about to be introduced to a more radio friendly Metallica. But back to 1984, Ride the Lightning has to be considered one of the most revolutionary albums ever made.

Ownership: 

1984 Music For Nations (LP). Acquired in 1984.

2010 Vertigo Japan (CD). Papersleeve. Acquired in 2015.

8/17/84 (first listen); 6/25/09 (review); 8/10/15

Other albums I own and need to review: And Justice For All; The Black Album; Death Magnetic

6/25/09 (new entry)

Metal Church ~ USA ~ Seattle, Washington

Blessing in Disguise (1989) 

---7/7/15

I bought this on LP when it came out, and 26 years later it just gets better and better. The songwriting is top notch, the riffs are sharp and memorable, the production is massive, and new singer Mike Howe's shrill and passionate vocals fit the music perfectly. There are plenty of progressions within each track, keeping the music exciting throughout. 'It's a Secret' recalls the killer instrumental 'Merciless Onslaught' from the debut. Overall, Blessing in Disguise sits comfortably in the middle ground between old school metal and late 80s thrash. Superb.

---12/22/25

For whatever reason I did not add that review to UMR, so it makes its debut here. It's interesting to note that this album isn't really progressive - or even all-out thrash - yet it has elements of both embedded that makes it a fascinating listen. It's a sophisticated album, but not overtly so. Metal Church found a niche in an overcrowded metal marketplace. I didn't mention it above, but if you're going to listen to one track here, make it 'Badlands'. At once beautiful and powerful. Incredible vocal performance by Howe. A true 5 star masterpiece. 

As I catch up on the band's history, it's sad to read that both of their iconic lead singers have passed away, along with their original drummer. On the positive front, they are still marching forward with ever changing lineups around founder Kurdt Vanderhoof, and plan on releasing their 14th album in 2026. As you can see at the bottom, I've barely heard a fraction of them. And only one recent title. 

Ownership: 

1989 Elektra (LP). Lyric insert.

1989 Elektra (CD). Tri-fold booklet with lyrics and photos.

1989 (LP acquired); 5/7/12; 7/7/15 (review); 12/22/25 (update)

The Dark (1986)

For whatever reason, I could never buy this album back in the day. It was like a reverse magnet. I'd have it in my hands, and put it back. I loved the first album (still do), and when Blessing in Disguise came out, I jumped on it. This latter work remains one of my all-time favorite metal albums. But I still didn't get The Dark. I even had a CD of Human Factor at one point (long gone). So leave it to me to wait until it's expensive. That's the Genius Hans way! Ah well, on the same wall with Wrathchild America was a perfect copy of this (it was an incredible metal buy from these guys - all in shrink and most looked untouched). It was overpriced (like unfortunately most of the others, though the WA was fairly marked), but I can never find anything to use my trade credit on, so what the hell - still free for me essentially. 

I offer this prelude to give you perspective on how I approached my first listen. It was with high anticipation. Well... it appears my basic instincts were correct. Or I should state - sort of correct. It's a good album for sure - solid metal all the way. But it misses the X factor that the two albums that surround it have. Whether it be the lack of hooks, energy, or epics, this album isn't breaking any new ground for 1986. I do appreciate Dave Wayne's shrieky voice though. On the downside, the production is a bit "square wave" if you know what I mean. I'm sure I need more time with the album - as the other two I must have heard well over 50 times each (which is what we all did back then). But I wasn't compelled to hear The Dark twice in a row last night. Anyway, a keeper for sure. But disappointing.

Ownership: 1986 Elektra (LP). Lyric insert.

3/7/21 (acquired / review)

Also own and need to review: Metal Church (1984); XI

Once owned and need to revisit The Human Factor.

3/7/21 (new entry)

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)

Manilla Road ~ USA ~ Wichita, Kansas

The Courts of Chaos (1990)

In the last years of the original incarnation of Manilla Road (< 1993), Mark Shelton was trying to escape the moniker. For The Courts of Chaos he wanted to use his own name (and did on the domestic cassette release). French label Black Dragon would hear none of it as they felt the brand was established and the music wasn't so different than prior. I can appreciate the label's position, and kind of glad it worked out that way. However, you can also hear why Shelton felt differently. At this point he was embracing synthesizers (played by drummer Randy Foxe) and also moving into a more progressive rock direction. Like Iron Maiden's Steve Harris, he was always a progger at heart, though heavy metal was his true calling. The album starts with a synth heavy instrumental, and it's at least six minutes into the album before we hear Shelton's familiar nasally growl. The third track is a cover of Bloodrock's DOA (their only cover song on a studio album), and an inventive one at that. The metal is less epic than their classic 80s albums, and has moments of tech thrash, a nice diversion for the band. Much crisper and more interesting than Out of the Abyss' attempts at similar. Shelton's guitar tone is more processed than usual, though still very much rough edged.

This was to be the last Manilla Road album with the classic trio lineup. Interest in the band had diminished and there seemed to be no reason to continue on. I seem to remember feeling the same way, not obtaining the album for another three years after release. It was due to a friend who pushed the album on me, thank goodness. It was during the 1990s that Europe gained a renewed fascination with Manilla Road's creation of epic metal. This lead to a reformation that lasted about 17 years until Shelton's untimely death (see below).

Note that the original LP leaves off the three part, eight minute 'The Books of Skelos'. This song was on the original CD release from the same year. All of the CD reissues have this track as well. And it's not to be missed.

The CD adds a live version of 'Far Side of the Sun' from their debut Invasion album. Fun to hear them revisiting their proggy hard rock past with a metalized version.

Ownership:

1990 Black Dragon (LP). Lyric inner bag. Acquired in 1993.

2002 Iron Glory (CD). Booklet with lyrics and recording details. One bonus track. Acquired in 2006.

1993; 3//06; 7/11/13; 9/22/25 (review)
 

Out of the Abyss (1988)

As you can clearly see below, I was an established Manilla Road fan by the time Out of the Abyss was released. I bought the LP dutifully when it came out, though it wasn't the type of metal I was looking for post college. Then came the opener 'Whitechapel' which was a real curveball from the Road. It starts off as straight up thrash before shifting into other metal tempos. The problem, to my ears at the time, is it wasn't heavy enough to play in the thrash game. It was an inauspicious start for the album because a) it isn't that great of a track to begin with, b) has little to do with the Manilla Road patented epic metal sound and c) it wasn't indicative of the music that was to follow on the album. Not sure why I never really gave the rest a chance, and it was to be the only Manilla Road LP I released out of the collection. It wasn't until seven years ago that I finally revisited the title via the CD reissue, and realized that Out of the Abyss wasn't really that far off the rails as I had initially thought. Still I'd submit it's more of a follower album than a leader, which the band is noted to be. Sort of what I said about Pink Floyd's Meddle in 1971. All the same, were I to rate all of the studio Manilla Road albums pre-reformation (and not counting Circus Maximus, which is a different band really), then Out of the Abyss would still come in last. And it's a very good album, demonstrating how strong the band were in their prime.

Ownership: 2005 Cult Metal Classics (2xCD). Includes their live Roadkill album (CD version which is significantly longer than the LP). Lengthy liner notes from Mark Shelton. Acquired in 2018.

First copy: 1988 Leviathan (LP). Acquired in 1988.

1988; 2/3/18; 5/20/25 (review)  

Crystal Logic (1983)

I've referenced this album many times, but never have featured it prior. I bought this album without knowing anything about the band or what they sounded like. It was on the wall of a local record store, and with a cover (and song titles) like that, I just presumed it had to be a killer metal album. I rarely would do that with new and costly albums, but I was drawn to the cover like a magnet. And my instincts proved me correct. Though at first I had some hesitancy. In retrospect, Crystal Logic is a transitional album for Manilla Road. And that unfolds through the album itself. 'Prologue' opens things up promisingly enough with a Rush-like 'Necromancer' narrative bit. This leads to the speed metalish 'Necropolis'. The guitar tone is raw and dry, and Mark Shelton sounds particularly nasal here, even more than usual. The song is almost showtooney to be honest. It's not the darkened heavy metal one would associate with the cover. This leads to the title track, and Manilla Road is inching closer to the sound they would be famous for. And then comes the infamous 'Feeling Free Again'. One last look back at their 70s heritage. With lyrics like "I got a feel for life girl, hey baay-bay I'm feeling free again... I'd never thought it's feel like this, now I'm in love with you". Some real heady stuff there. It's a good pop metal song actually. It just happens to be on the wrong album.

And then Manilla Road became Manilla Road. 

From here on out, it's epic metal in all its glory. The birth of the sound as it were. 'The Riddle Master' is everything you want in an epic metal track. Heavy riffs, sinister vocals, and psychedelic guitar solos. The latter is something Shelton dragged along from the 70s, and never let go of fortunately. He wasn't a modern million-chromatic-scale-notes-per-second kind of soloist. He preferred expressive solos, as were more common in the decade prior. All of Side 2 is excellent, with the uptempo 'The Ram' followed by the dark and eerie 'The Veils of Negative Existence'. You'd almost think Shelton was from Europe with his unusual pronunciations. "Negaahteeve Exeestaahnse". And then comes the closer, the blueprint for epic metal to come. 'Dreams of Eschaton' is why you buy albums that have covers that look like Crystal Logic. It just pounds away with one helluva killer riff and Shelton's echoed and impassioned vocals are the icing on the cake. All this leads to one last awesome solo drifting into the mists of time. Groundbreaking - and the beginning of an era.

The CD adds one bonus track 'Flaming Metal Systems' which was originally released on Shrapnel's U.S. Metal Vol. III. This track sounds like Van Halen's 'Eruption' mixed with speed metal. The label curiously placed it between 'Necropolis' and 'Crystal Logic', which kind of makes sense when reviewing the album and its progression. 

Ownership: 

1983 Roadster (LP). Acquired in 1984.

2000 Iron Glory (CD). Acquired in 2004.

1//84; 2004; 7/2/15; 9/28/19; 8/23/21 (review)

To Kill a King (2017)

I knew this was going to be a tough listen. I was all of 19 when I visited my favorite import/indie store in Dallas (Metamorphosis for those old-timers that were there). On the wall they were featuring a most fascinating looking new album. I'd never heard of the band, but it just looked so cool, I had to buy it. It was during the Christmas break from college... 1983. Yes, that album was Crystal Logic (still own that exact LP copy). And from that point forward Manilla Road were intertwined with various personal life events. I even went to band leader Mark Shelton's house in Wichita back in 1991. At the time, he was very excited about his new project Circus Maximus, something that didn't really take off, except for one album, released against his will as Manilla Road.

As is often the case, we all go in different directions. Shelton himself took close to a decade off from recording. My career and personal life took me away from being deeply immersed into the music world, moving more towards strictly a remote music collector. When Manilla Road resurfaced in 2001, I continued to follow the group and buy their albums, but not in the same fanatical way. No more contact, or seeing them live.

During this time, I watched with fascination as Manilla Road went from a barely known metal band that only a few of us knew, to that of true legend. It pleases me no end to see those much younger than I truly appreciate the music that Manilla Road has put out all these years. That legend will continue to grow, this I'm sure of.

To Kill a King will likely be the last Manilla Road album. It wouldn't make sense to maintain the brand, as Shelton was the brand. There was no opportunity for hand off, or to cultivate a successor. Mark Shelton's death came as a shock to us all. He didn't die early (relatively) the way many musicians unfortunately do via self-destructive behavior. Rather he went out the way true warriors do - in the middle of the battle. In effect he died of heat exhaustion, literally playing his heart out for his fans. It was a fitting way to go, though far too early for a man that seemed to never lose his way - where creativity continued to spring like a fountain.

The irony here is that To Kill a King was a look backward - to the very roots of Manilla Road. At the time when they were just as much a proggy hard rock band as anything heavy metal. One could easily hear To Kill a King as a lost album between Metal and Crystal Logic, with some excursions into more modern metal ('The Arena' in particular). To Kill a King is not Manilla Road's most exciting or innovative album, but it's great to hear a turn-back-the-clock album such as this. Perhaps Shelton subconsciously knew his fate, and wanted one last shot at an older style.

If you've never heard Manilla Road, and you're not really a metal fan (in the more modern sense), then To Kill a King would be a great way to immerse yourself into this most fascinating world. And then perhaps work your way through the catalog starting at Crystal Logic up to their masterpiece (IMO) The Deluge.

One fun fact for you: If you drive east on I-70 from Denver towards Kansas, there's an exit for a... Manilla Road. I've always wondered about that.

Now I'm afraid it's time to say goodbye, Mark Shelton. Thank you for everything.

Ownership: 2017 Golden Core (CD). Tri-fold digipak with a booklet containing lyrics and photos. Acquired in 2019. 

11/30/19 (review)

The Deluge (1986)

Manilla Road's peak album among a whole canon of peak albums. The ultimate epic metal performed at a time (1986) when everything was synthesized and slick-as-a-butter-dish. The Deluge is the antithesis - perhaps remedy - to all that was wrong in those misguided middle 80s. And the drumming on this album is insane, it's also like it is just off meter (a little bit) that adds to the urgency. There's an awesome moment in the middle of the lengthy title track that must be heard - incredible riff and drumming! The loss of Mark Shelton cannot be understated. He followed his own direction and made his own music. One that was pretty much ignored upon release (especially here in the US - I was one of the few here who bought it as soon as available) but many years later found his audience. Which continues to expand - and will grow for generations. He died a true warrior - after playing a concert in Germany, pounding it out at age 60 as if he was still 19. Look for the The Deluge to one day be considered a Top 5 album of the year in which it was released. It's timeless. 

Ownership: 

1986 Black Dragon (LP). Acquired in 1986.

2011 Shadow Kingdom (CD). Liner notes from Shelton, plenty of photos, and lyrics. Acquired in 2011.

1986; 11/5/11; 12/23/18 (review)

Open the Gates (1985)

Nobody mixed riff based metal with psychedelic hard rock better than Manilla Road. All wrapped up with fantasy Medieval lyrics and artwork to cuddle up with. It's a big sloppy mess, but wonderfully so. Imperfection never sounded so good. At times Shelton sounds like Frank Marino, as he noodles away wildly, seemingly without purpose, with a crazy racket storming behind him. 'The Ninth Wave' is yet another perfect Manilla Road epic metal track - one that basically reiterates their invention of the style. Manilla Road are for those of you who like Hollywood leading men with scars and lots of wrinkles. If you came here looking for crisply executed, slickly produced, and perfectly played metal - then you cannot possibly be more lost.

Ownership: 

1985 Black Dragon (LP + EP). Acquired in 1993.

2001 Dragonheart (CD). Acquired in 2011.

1993; 12/9/11; 10/13/15 (review)

Mark of the Beast (1981-1982 / 2002)

So the story goes that this album was originally intended to be the second Manilla Road release after Invasion, but was scrapped, and Metal ended up being the final product. The title was to be Dreams of Eschaton. I'm not buying it for one second. There's way too much variation of style and sound quality here to be a coherent album. Not to mention the 66 minute length (double LP? C'mon...). But this is the story Mark Shelton himself tells, but we know how it goes with bands and their memories...

What I will believe, though, is that these are demo recordings from the 1981/1982 time frame, and that would fit the label owner's story of him receiving it at that time as a teenager. It's important to remember that Manilla Road were a hard rock band at their beginning, with psychedelic guitar and progressive lyrical themes. And mostly that's what you get here, along with some of their early chugging metal style that was present on Metal.

It's mostly a solid psychedelic hard rock release, with a couple of down moments like 'Court of Avalon' and 'Venusian Sea' both of which seem go nowhere beyond hearing Shelton sing for way past the song's shelf life. So 13 minutes of just-OK music is hardly a bad batting average. On the flip side....

'Avatar' has to be heard to be believed. To me, this is the perfect 5 star track. What a glorious mess of a song. It is all over the place. It's psychedelic, it's hard rock, it's metal, and it's progressive. All at the same time. I absolutely adore this time in music when there were obvious influences - yes - but not properly placed at all. There were no rules, just whatever they felt like doing, whenever they felt like doing it. You could hear this track forever and not hear it the same twice. I want a triple album of music like this! And then follows 'Dream Sequence' which is an organ dirge with echoed voices, sounding right off a 1970 German Ohr Krautrock album. And no keyboards are credited! Guys, are you sure you did this?

Anyway, so much material here, and plenty more inconsistencies that make it so weird and wonderful. In other words: Must own album!

Ownership: 2002 Monster (CD). Includes all the lyrics and a history of the album penned by one of the label owners. Acquired in 2004.

2004; 7/20/15 (review)

Other albums I own: Invasion; Metal; Mystification; Atlantis Rising; Spiral Castle; Gates of Fire; Voyager; Playground of the Damned; Mysterium; The Blessed Curse; Roadkill; After Midnight Live

7/20/15 (new entry)

Kreator ~ Germany

Pleasure to Kill (1986)

This is the last of the albums I picked up from What's Left's metal buy at the end of 2024. Unlike the other three, I did own this once but it was on CD. That was back in 2004 and I wrote a review at the time demonstrating that I was struggling with the contents. I never did hear Kreator back in the day - at least not a full album. By 2015 I decided to move it out on a final listen. In hearing the album for the first time since, and first time ever on vinyl, my position has changed. This is an acknowledged classic in the thrash metal world, and some claim it is Kreator's best work. I'm not familiar with any of their other albums, but in reading reviews, it seems the next three after this would probably be even more to my liking. Pleasure to Kill is a flawed album, no question about it. What's changed is my views towards those flaws. As I get older I seem to reward enthusiasm over professionalism. Had this been rehearsed more, or the vocals were more polished, or the production was more clear, then we'd have an entirely different listening experience. But is that what I want? I'm not so sure. One of the issues is the vocals - they aren't sung, they aren't screamed, and they aren't growled. They're spewed. With anger. I'm warming up to them. Goes with the music. Another is that they go too fast at times. This is a problem with Teutonic thrash in general during the early days (see my recent comments on Deathrow and Destruction). I love high energy but if it's full blast all the time, then the impact loses its punch. The good news is that Kreator does mix the tempos quite a bit, and the riffs are all over the place. The latter is the strength of the album, no question. The guitar solos are good too, not just random notes as fast as possible. Even the opening soft piece is a cut above, not just a basic acoustic guitar strum, but rather a semi classical chamber sound with what could pass for mellotron even. I'm up for hearing anything by these guys at this point. 

Ownership: 1986 Combat (LP) 

2004 (first listen); 6/30/15; 2/10/25 (review)

2/11/25 (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)

Destruction ~ Germany

Eternal Devastation (1986)

Destruction are another band I remember from my college days but never heard until now. Yea, this is one crazy thrash album alright. The riffs are super, non-calculated, and all over the place. Vocalist either spews anger or squeals at the highest register. The only downside are the solos, where he goes a million miles an hour and you can't make out what he's even trying to do. This is not uncommon for the early thrash bands. One can hear the Swiss strain of thrash here including Celtic Frost and Coroner, especially the latter at the time of RIP. Reading some folks complaining about the production. It's raw, thick, and choppy. I wouldn't want to hear it any other way. As with Nasty Savage, I would have enjoyed this album in college.

Ownership: 1986 Metal Blade (LP) 

12/26/24 (review)

1/28/25 (new entry)

Nasty Savage ~ USA ~ Tampa, Florida

Indulgence (1987)

I remember Nasty Savage from my college days, but never checked them out. My loss as this is my kind of metal. Mostly it's off-kilter thrash, with riff after riff coming at you from all angles. "Nasty" Ronnie is your front man, and he's quite the character it would seem. A complete showman, part time wrestler, and part time King Diamond imitator apparently. When he's not squealing, he's singing in an aggressive manner typical of the metal acts of the day. Regardless of his stage antics, it's the music that carries the day here. It doesn't really fit any kind of genre norm, which only makes it more endearing to me. Way more thoughtful than you might initially think. I would have loved this had I picked it up real time. Alrighty, 38 years later, it's in the collection.

Ownership: 1987 Metal Blade (LP)

12/25/24 (review)

1/25/25 (new entry)

Iced Earth ~ USA ~ Tampa, Florida

Night of the Stormrider (1991)

---3/29/01

For a brief period in the early to mid 1990's, a music movement known as "progressive thrash" thrived in the underground clubs and magazines of the day. Take two parts Metallica riffing, one part Iron Maiden song craft and one part Fates Warning style invention and you have an idea what the sound entails. One of the best at this style were Florida's own Iced Earth... By their second album, Night of the Stormrider, Iced Earth had honed their craft. Each song contains speedy riff after riff and plenty of metronomic activity to challenge the discerning listener. The vocals are clean but deep and heavy.

---1/24/24

It seems every time I hear this album, I give it a +1. I'm almost at the very top now. Everything about this album is perfect - from the atmosphere, to the riffing, the production, onto the compositions, even the much maligned vocals. And it's not even their best album! That goes to its successor Burnt Offerings. The album is super from the first note to the last. Love the cover too.

Best I can tell, this album didn't come out in the States until the following year. The first pressings were released in Germany and Europe. They were still pressing LP's in Germany, and this did get a vinyl release. They used a different cover, and I definitely prefer the US version.

Ownership: 1992 Century Media (CD). Lyric booklet. Acquired in 1994.

1994; 3/29/01 (review); 12//04; 4/1/16; 11/3/17; 1/23/24 (update)

The Glorious Burden (2004)

The kings of the triplet riff. This title is their homage to world history, especially the American Civil War. Unfortunately it doesn't translate to anything more than a typical Iced Earth album. I adore the first three albums by them, and then it's case by case. I have a couple more later ones I'm sure to keep, but probably the rest will be released. I have a lot of their titles, and have already sold a few off. Here's one more.

2004 SPV (CD). Acquired in 2007.

7/12/07; 6/17/16; 11/28/23 (review)

Enter the Realm (1989)

Enter the Realm is Iced Earth's debut EP demo cassette, originally recorded in January 1988 but not released until a full year later. Vocalist Gene Adams has been called out as a "no talent" by band leader Jon Schaffer himself, but I personally appreciate his "real people" approach that very much fits in with the aesthetic of the late 1980s. Had Iced Earth not hit the big time, no one would have noticed anyway, and this recording would be a cult classic sought after by many. Most of this album found its way onto the debut full album, in slightly revised form. 'Enter the Realm' and 'Nightmares' did not reappear until the Matthew Barlow re-recordings on Days of Purgatory. Overall this EP is a really fine early prog / thrash / power metal album.

Ownership: 2008 Century Media (2xCD). Papersleeve. Contains Enter The Realm of the Gods and Tribute to the Gods. Acquired in 2016.

6/14/16 (review)

Also own: Iced Earth (1991); Burnt Offerings; Horror Show; Dystopia; Alive in Athens

Previously owned: The Dark Saga; Days of Purgatory; Something Wicked This Way Comes; Framing Armageddon; The Crucible of Man; Plagues of Babylon; Festival of the Wicked; Live in Ancient Kourian

6/14/16 (new entry)

Accept ~ Germany

Restless and Wild (1982)

And here we have the invention of thrash metal. Accept were an odd choice to be the torchbearer for the movement. Their debut album was a product of the 70s, a juiced up hard rock similar to what the Scorpions and UFO were up to. They followed this with the lackluster I'm A Rebel, a decided move to AC/DC style hard edged boogie rock. Then came Breaker, and Accept were clearly starting to prove they might be a show horse after all. It's here they introduced their love for Judas Priest as much as AC/DC. This all lead to Restless and Wild. It's almost as if the group decided they had nothing to lose and went for broke. 

Starting off with the Nazi symbolic folk song 'Ein Heller und ein Batzen', Accept represented what many German youngsters felt - we've had enough of this crap - and vocalist Udo Dirkschneider proceeds to scream his head off in a rage of pent-up anger while the band unleashes thrash metal to the world. They let the genie out of the bottle, and the song resonated worldwide with every angry youth regardless of nationality. 'Fast as a Shark' is ground zero. Just the way the album opens would become de rigueur for thrash to come. That of a soft or irrelevant opening followed by a crushing attack of raging guitars. In retrospect, Accept weren't thrash at all, and the remainder of the album doesn't really reflect a similar sound. 'Fast a Shark' could be seen as an amped up variation of Judas Priest's 'Exciter'. No matter, it was the sound created that sparked the imagination of hundreds of budding metal musicians. One of those groups would be Metallica, and the following year they unleashed Kill 'em All to be arguably the first full throttle thrash album. If you look at a site such as RYM, you'll notice that thrash became a phenomena very quickly after that. It started right here.

I suppose if that's all Restless and Wild brought to the table - that is to say, their opener only - then it would be of historic interest and little else. That is fortunately not the case. They never let go of the heaviness, which also captured the imagination of a restless youth so to speak. The title track is the perfect follow up, slowing down the proceedings while maintaining the galloping heavy riffs. There are no weak songs to be found, every one of them has purpose to go with the heavy sound. And they're perfectly placed in the track order. This is the only album where AC/DC didn't seem to inspire them. That style was reintroduced on Balls to the Wall, a much more tame (albeit successful) follow up.

Two other songs to call out. One is 'Neon Nights' that closes off Side 1. Here they tap into the thoughtful side of the Scorpions, but with an extra dollop of heaviness. And then perhaps the crown jewel of them all is 'Princess of the Dawn', a track that you could make the claim inspired Epic Metal. It has all the earmarks of a Manilla Road or Cirith Ungol type work. Progressive in its composition, and heavy in its output.

The cover is also predictive - they lit the match that set the heavy metal genre into flames. Restless and Wild is as groundbreaking as they come.

Let's talk about the alternate cover. What on earth were they thinking (label I presume)? The Brain cover is perfect in every single way possible (I mean just look at it!). And when the album was released worldwide it just showed the band playing live. It looks like a live album release. What a dumb decision that was.

Ownership: 1982 Brain (LP). Black label; 1987 Heavy Metal Worldwide (CD). Alternate cover.

1983 (acquired); 1/8/24 (review)

Breaker (1981)

One of the most important European metal albums, Accept surprised everyone with their 3rd opus. After a couple of ordinary hard rock albums, Breaker turned up the amps and broke out the riffs for a head turning "did you hear that?". I bought this album real time (the US Passport version) and its impact was profound. I'm surprised I did though, as I unfortunately purchased I'm A Rebel prior, one of the worst buys of my initial forays into the underground during high school. I'll have to hear it again at some point, but it was absolutely not what I wanted at the time. I must have heard a track on the radio from Breaker to compel me to go back to Accept. Over time I lost interest in this kind of metal and sold off my copy in the early 90s - probably along with the 1980s Scorpions albums.

One thing to note is that the original German version has a different running order than the American press. And this is important because the opening three tracks here pack a wallop when thrown together. Opener 'Starlight' reminds me of Judas Priest's 'Grinder' and is a great way to open the album. But the second track - and it is the second track on the Passport version as well - is the title song. It is this song that has one of those memorable riffs that would become heavy metal's ultimate trademark. And 'Run If You Can' fulfills the great opening sequence. From here the album doesn't maintain it's blistering pace but almost all of it is very good. Only 'Midnight Highway' can be skipped - a moldy relic from their I'm a Rebel past. Naturally that was the opener on the US version. Oddly my rating for this album didn't change. I was expecting a major revelation here, but no - my memory of it from 30 years ago was pretty accurate. I just appreciate more now its historical significance.

Back to 1981: I had become an established Accept fan. Good timing, because their next album was the masterpiece - the one that blew the doors off the metal scene and created the expanding universe as we know it. That of course would be Restless and Wild, and unlike Breaker, I never got tired of that album and it remains one of the treasures of my collection. 

Ownership: 1981 Brain (LP). With lyric / picture inner bag. Black label. 

1981 (first acquired); 10/25/22 (review)

Russian Roulette (1986)

I'd heard this album real time and I didn't think much of it. My rating was certainly too low, but this is a very straightforward metal album. Reminds me a lot of those Anthem (Japan) albums actually. I've been reading reviews and comments where many feel this album is highly underrated - and some say it's their best. I can't understand that sentiment myself. Guessing it's coming more from the "true metal" camp. It's definitely no fuss, no muss.

Source: 1986 Portrait (LP)

1986; 10/26/22 (review)

Balls to the Wall (1983)

I don't think one can overestimate the influence that its predecessor Restless and Wild had on metal. In my mind, it was the very first thrash metal album. Sure, Metallica were to improve on the formula and become the standard bearers, but it was Accept that lit the flame. So when Balls to the Wall hit the floor, I nabbed a copy as soon as I could. It was an import and therefore not cheap (it was before they had signed to a US label). I was pretty disappointed to be honest. Accept had decided to scale back and return to their roots. The best description I've read on this album is AC/DC meets Judas Priest. Which is entirely apt, though I had forgotten how much of the latter there really was here. I'm not a fan of AC/DC (as you have read) but I love JP. This one has much more crunch and speed than I recalled, and I'm glad I reacquired it. I couldn't pull the trigger for Metal Heart though.

The CD adds two bonus tracks, both excellent live renditions of songs from the album.

Ownership: 1984 Portrait (LP); 2001 Portrait Legacy (CD). Full liner notes and two bonus tracks.

1984 (first acquired); 1/30/22 (review); 6/18/25 (update)

10/25/22 (new entry)

Riot ~ USA ~ New York

Thundersteel (1988)

Riot are one of the pioneers of American metal, though they never managed to be in the limelight, despite having legions of fans. Even for myself back in the late 70s and early 80s - when I was a true metalhead - I never bought any of their albums. I can remember hearing Narita played in full on the radio in 1979. It may have been just too much for me at the time, I don't recall too many details. To this day I haven't heard it again, though I'm certain a revisit will be rewarding. It wasn't until 1990, when I purchased The Privilege of Power real time, that I finally took the time to listen to Riot again. Different era and different music. 

I bring this up on Thundersteel, because this is Riot's most popular and highly rated album, at least in retrospect. In reading the reviews, this is their own Painkiller, for those that know Judas Priest well. The kind of album, that had they released it back in 1983, would have likely taken them to underground stardom. Instead they broke up at the worst time. By 1988 metal had progressed leaps and bounds from the earlier 80s blueprint. So by the time Thundersteel hit the market it was lost among a sea of worthy competition. As noted above, today it's highly revered. Part of that admiration is this is a no muss, no fuss kind of fast heavy metal. I hear it as thrash metal, though others will state it's a heavy variation of speed metal. In this genre, the fanatics' eyes will bug out of their sockets if you wrongly categorize them. Like with a good hamburger, metal albums don't have to be fancy to be great, and that's really what Thundersteel brings. What are those ingredients? Solid riffs, great soloing, a hyper rhythm section, and a histrionic vocalist who can actually sing. No muss, no fuss. :-)

Ownership: CBS Associated (CD). Acquired in 2013.

8/1/13; 8/5/18; 7/28/22; 4/26/23 (review)

Other albums I own: The Privilege of Power

4/26/23 (new entry)

Death Angel ~ USA ~ San Francisco, California

The Ultra-Violence (1987)

I purchased this new upon release in my final semester in college. One of the real treasures of my metal collection. As an aside, I recently returned from a energized sales conference in Las Vegas with thousands of attendees (early March). Before every executive would enter the stage, they would play a hard rock or heavy metal classic tune to introduce them. Similar to relief pitchers in baseball when they come onto the field. If I were to be in their shoes (and I have no intention of doing so), I would dig a little deeper and find a segment from the title track found here. What a monster of a track this is. A full TEN and a half instrumental thrash metal track that never sits still and gets very intense with real climaxes. It's astonishing to know these Filipino's were still only teenagers living in the Mission District of San Francisco at the time. The rest of the album is no slouch either, with oddly the opener being the weakest and most mundane thrasher here. 'Evil Priest' is another killer track. 

Ownership: 

1987 Enigma (LP). Lyric insert. Acquired in 1987.

1993 Restless (CD) 

1987; 2004; 3/4/23 (review)

Also own: The Evil Divide

Once owned: Act III. Need to hear this one again.

4/10/23 (new entry)