DISCOG DISSECTION: Anthrax - "A Foundational Force in Thrash Metal"

Anthrax is band that need no introduction, formed in New York City in 1981 and considered one of the "Big Four" bands of thrash metal, alongside Metallica, Slayer, and Megadeth, Anthrax played a pivotal role in shaping the genre throughout the 1980s and beyond.

Known for their fast-paced, aggressive sound and groove based version of thrash metal, they have multiple acclaimed albums, including “Among the Living”, “Spreading the Disease” and “Sound of White Noise”.

Whilst Anthrax has experienced several line-up changes, they have has consistently pushed musical boundaries and reinvented themselves, incorporating elements of punk, hardcore, and even hip-hop into their music. Their collaborations, such as the groundbreaking track "Bring the Noise" with Public Enemy, demonstrated their versatility and willingness to experiment. Anthrax remains active today, and whilst the gaps between their output has increased, diehard fans can only hope, there is new material just around the corner.  Check it out my favourite Anthrax albums below and let me know your thoughts (do you agree and how would you rate them)

⚔️ 11). “State of Euphoria” issued September 18, 1988

🩸 Stand out track(s) “Be All, End”, “Out of Sight, Out of Mind”

⚔️ 10). “Fistful of Metal” issued January 28, 1984

 
🩸 Stand out track(s) “Deathrider” “Metal Thrashing Mad”

 ⚔️ 9). “For All Kings” issued February 26, 2016

🩸 Stand out track (s) “You Gotta Believe”, “For All Kings”, “Suzerain”, “Evil Twin”, “Blood Eagle Wings”

⚔️ 8). “Spreading the Disease” issued October 30, 1985

🩸Stand out track(s) “AIR”, “Madhouse”, “Medusa”, “Gung Ho”

⚔️ 7). “Volume 8: The Threat is Real” issued July 21, 1998

 
🩸 Stand out track (s): “Crush”, “Inside Out”, “Piss & Vinegar”, “Born Again Idiot”, “Killing Box”, “Hog Tied”

⚔️ 6). “We’ve Come For You All” issued May 6, 2003

🩸Stand out track (s) “What Doesn’t Die”, “Black Dahlia”, “Nobody Knows Anything”

 
⚔️ 5). “Stomp 442” issued October 25, 1995

🩸Stand out track (s): “Random Acts of Senseless Violence”, “Fuelled”, “King Size”, “Riding Shotgun”

⚔️ 4). “Among the Living” issued March 22, 1987

🩸 Stand out track(s) “Among The Living”, “Caught In A Mosh”, “I Am The Law”, “N.F.L”, “Indians”

 
⚔️ 3). “Worship Music” issued September 13, 2011

 
🩸Stand out track (s) “Earth On Hell”, “Devil You Know”, “Fight Em’ Until You Can’t” “In The End”, “The Giant”, “Revolution Screams”

⚔️ 2). “Persistence of Time” issued August 21, 1990

 
🩸Stand out track(s) “Time”, “Blood”, “Keep It The Family” “Gridlock” “Belly of The Beast”

 
⚔️ 1). “Sound of White Noise” issued May 25, 1993

 
🩸 Stand out track (s): “Potters Field”, “Only” “Hy Pro Glo”, “Invisible”, ”Burst”

ALBUM REVIEW: Overkill, "Scorched"

By: Richard Maw

Album Type: Full Length
Date Released: 14/04/2023
Label: Nuclear Blast

 
“Scorched” CD//DD//LP track listing:
 
1. Scorched
2. Goin’ Home
3. The Surgeon
4. Twist of the Wick
5. Wicked Place
6. Won’t be Comin Back
7. Fever
8. Harder They Fall
9. Know Her Name
10. Bag o’ Bones
 
 
The Review:  
 
Well, Overkill return after their longest ever break between albums- “Wings of War” was 2019! It’s only the pandemic that has led to this situation, and I suspect that the band would have put this out in 2021 or 2022 if they had been able to tour it.
 
First things first: Colin Richardson has produced and mixed this along with Chris Clancy. It sounds incredible. The bass is percussive and aggressive with D.D Verni taking his rightful place in the mix, the drums are crystal clear and have depth along with attack- Jason Bittner is perfect for the band. The guitars are similarly in-your-face and precise. I realise that Bobby G is most fans choice of favourite Overkill guitarist, but I love the Linsk/Tailer axis even more.  On top of all that, of course, is Bobby Blitz Ellsworth’s instantly identifiable shriek.
 
Of course, if identifiable sounds and elements made for classic albums then the Rolling Stones and Metallica would be on a never ending winning streak of incredible records… Fortunately, this time around Overkill have focused and delivered the songs along with the sounds. With hindsight, I found “Wings of War” a little over-long and a little directionless in parts. The good songs were great, the album tracks were a little more blunt than usual. “The Grinding Wheel” suffered from a mid-album bloat with too many long songs.
 
“Scorched” delivers only one song over the six-minute mark and it is a welcome approach. Indeed, with the title track being up first and the longest song on offer, the band immediately announce that they are BACK. It’s a cracking and thrashy opener. “While Goin’ Home” may be the most accessible song here, it’s not one of my favourites as I am here for thrash- as I am on every Overkill record. “The Surgeon” delivers handily as does “Twist of the Wick”.
 
The band have time for a detour or two as well, such as “Wicked Place”- that delivers the Sabbathian lope that the band have perfected over the years (see also “Spiritual Void” and “Come Heavy”). It’s cool that Overkill continue to be OVERKILL at all times. The song writing is sharp and the band is as hungry as ever. Dave Linsk delivers some mighty lead work throughout and for a bunch of guys who are mostly in their 60s, well, it’s incredible that they still sound like this and that they are still making music with this fire and quality.
 
It's not all flawless; there are a couple of Overkill-by-numbers tracks; “Won’t Be Comin’ Back” is fine, but no better than that and leans a little too hard on melody- it’s an average Overkill album track, redeemed partially by the solo section. The albums most left-field track is “Fever”. It is a slow burning, moody quasi-ballad. This is the type of Overkill song that I have never really cared for and don’t buy the albums for. I didn’t rate “Bitter Pill” on “White Devil Armory”, I don’t like “Shades of Grey” on “I Hear Black...” the list goes on. On the plus side, it has some unexpected percussion, quiet and loud dynamics and isn’t a bad song per se. It’s just not what I want from an Overkill track. I’d probably rather have a throwaway thrasher than a well-crafted moody song like this one. My loss, I suppose.
 
Fortunately, “Harder They Fall” redeems the band instantly with a straight ahead rager- fast and furious with plenty of machismo as is expected from the title. Simply put, it is this type of song I’m looking for from the band. Not that they owe me anything at all when they are 20 (!) albums deep into their 43-year career. The chugging riff of “Know Her Name” is also welcome and feels like an old friend. Indeed, between this and the (surprisingly funky and groovey) closing “Bag O’ Bones”, the band don’t put a foot wrong and finish the album in fine style.
 
Overkill began an incredible run of albums with “Ironbound” in 2010. For me, that one remains their peak (of any era) but “Electric Age” was almost as good. “White Devil Armory”, “The Grind Wheel” and “Wings of War” are all good records- with perhaps a tendency for the quality to drop just a little with each album in release date order. “Scorched” reverses that slight downward trend and brings them back up a notch.
 
Another year, another great Overkill album. Enjoy them while they are still here as sooner or later- much like Motorhead- they simply won’t be around anymore. This is recommended to all fans of the band, all thrash fans and is as fine a starting point as any for anyone who wonders what the band are all about.
 
“Scorched” is available now

Band info: Bandcamp || Facebook

ALBUM REVIEW: Sodom, "40 Years At Ward: The Greatest Hell of Sodom"

By: Richard Maw
 
Album Type: Full Length
Date Released: 28/10/2022
Label: Steamhammer SPV

 
“40 Years At War- The Greatest Hell of Sodom” CD//DD//LP track listing
 
1. Sepulchral Voice
2. After The Deluge
3. Electrocution
4. Baptism Of Fire
5. Better Off Dead
6. Body Parts
7. Jabba The Hut
8. Gathering Of Minds
9. That’s What An Unknown Killer Diarized
10. Book Burning
11 Genocide
12. City Of God
13. Ashes To Ashes
14. In War And Pieces
15. S.O.D.O.M.
16. Caligula
17. Euthanasia
 
The Review:
 
Well, this is a real fan curio! Instead of re-recording an early album… Tom Angelripper and the band have done something different. The seventeen tracks here are all re-recordings. One from each release that the band have done. Whether this idea is tempting to you or not may depend on your previous experiences with re-recordings of any kind.
 
The pros of this approach first: i) by recording one song from each album, the band cannot be accused of full sacrilege in the same way that, say, Manowar were with the “Kings of Metal” re-recording. ii)The production, playing and overall musical quality is much improved in most cases here.
 
The cons of this approach: i) the songs exist in their original recorded form and any listener familiar with such original recordings may feel sentimental attachment to them and therefore may not give any re-tread a chance. ii) Re-recording means that to some extent one or other version of the songs becomes redundant in some way.
 
So, seventeen tracks form the German thrash metallers’ career, played by the latest line-up with the latest recording techniques and sound quality. Honestly? I like the idea. You get kind of a best of comp with a uniform sound and a gateway into the band’s previous work. Now, that’s not to say that I am going to go back and listen to every single one of the albums that these tracks spring from. Neither does it mean I’m going to dispose of my copy of “Obsessed By Cruelty”.
 
How essential is a re-recording of “Euthanasia” from 2020’s “Genesis XIX”?! Hmm; it’s so recent that a live version would have sufficed. At least the band have been consistent in their approach- no exceptions. Let’s dive in.
 
The tracks here range form the essential (“Sepulchral Voice”, “After the Deluge”, “Electrocution”, “Baptism of Fire”) to the lesser known (“Gathering of Minds”, “That’s What the Unknown Killer Diarized”). Of course, the 80s material shines through as very strong- from “In The Sign of Evil” onwards the band had their own sound, vibe and the influence that they went on to have on black metal (in particular) cannot be denied.
 
Across the seventeem songs here, it’s all worthwhile material. The band ploughed on through the 90s- I will admit to a lack of familiarity with most of those albums and songs, mind. It must be said, recent efforts have brought the band back in a big way. “Decision Day” was a great album and is represented here by the fearsome “Caligula”. 
 
Quite simply, this is enjoyable- it’s fun, it’s raucous, it’s respectful of the original songs- no arrangement changes- and it does what it sets out to do. “40 Years At War” showcases the band across all line ups and records. It cherry picks great songs throughout and gives a new listener a way in and an old listener an update in sound quality. If you are new to Sodom, sure, start here. If you are an avid fan, you’ll buy this anyway. If you are a casual fan then this may inspire you to go through more of their albums. With this release, Sodom’s approach has won the re-recording battle and will no doubt continue to wage their war for years to come.
 
“40 Years At War- The Greatest Hell of Sodom” is available now 

Band info: facebook

ALBUM REVIEW: Revocation, "Netherheaven"

By: Richard Maw
 
Album Type: Full Length
Date Released: 09/09/2022
Label: Metal Blade Records

“Netherheaven” CD//DD//LP track listing:
 
1). Diabolical Majesty
2). Lessons in Occult Theft
3). Nihilistic Violence
4). Strange and Eternal
5). Galleries of Morbid Artistry
6). The 9th Chasm
7). Godforsaken
8). The Intervening Abyss of Untold Aeons
9). Re-Crucified (feat. Trevor Strnad & George “Corpsegrinder” Fisher)
 
 
The Review:
 
Revocation blast back to resume their place as the leading light of the tech-death/thrash masters. I’ve not followed the band fully since “Deathless” back in 2014, but I’ve dipped in and out. On that basis, I can proclaim that this is a great record- even by Revocation’s lofty standards.
 
So, the good news is plentiful here; tight and punchy sound, loads of riffs- for days and days- catchy sections and endless musical dexterity. The band, collectively, perform incredible musical gymnastics and from the very fast start, it’s obvious that they mean business. The lead work is sublime all the way through, and the drums are both technical and hooky- lots of repeated motifs and ‘framing’ of the labyrinthine structures.
 
The album is very thrashy in parts- the sections in “Nihilistic Violence” when the band puts their foot down are an aural feast of, well, nihilistic violence. The record further endears itself to me by being nine tracks long; ideal for this type of thing where a little goes a long way. The songs aren’t nine-minute exercises in repetition either; they’re punchy and brimming over with ideas and changes; leads to start “Strange and Eternal”, rhythms and guitar progressions reminiscent of “Individual Thought Patterns”… it’s pretty majestic stuff.
 
This type of music, of course, is something you build up to and get or you don’t… If you’ve been craving something a little more complex than what you’ve been listening to or have felt that traditional thrash bands don’t go far enough in terms of technicality or extremity, then this is for you. Likewise, if you are a fan of everything from Death to Arkaik or even Nile, then there will be a great deal to delve into and enjoy for you here.
 
There are no bad tracks across the nine on offer, and while they broadly conform to a type/style, there is variety in terms of tempo, rhythms and hooks. “Galleries of Morbid Artistry” employs quiet/loud dynamics and rhythmical approaches that are not just aimless blasting or thrashing. It’s different from the opener “Diabolical Majesty”- but still sounds like it belongs on the same record. There is melody here in sections of all tempos but mainly this is not an album of hooks per se. It is still memorable, but the technicality is to the fore.
 
While the band don’t quite get to the jazz infused side of a band like Atheist, again there are jazzier/fusion type elements to the playing, and this adds a light and shade to the record which would have been easy to miss out. The instrumental, “The 9^th Chasm”, bears this out. I much prefer my tech-death/thrash to have these types of departures (or additions) as they make things more interesting and listenable. There are few things harder to listen to than dull death metal- either live or on record.

So, what else can be said here; the artwork is fantastic- Paulo Girardi has delivered a nightmarish sleeve (his work for latter day Manilla Road was perfect), the production and mix is superb- it’s just crystal clear- and I really can’t find any faults at all. This is a superlative example of the sub-genre and the blending of the genres involved. All hail Revocation.
 
“Netherheaven” is available HERE 

Band info: official

ALBUM REVIEW: Kreator, “Hate Über Alles”

By: Richard Maw
 
Album Type: Full Length
Date Released: 10/06/2022
Label: Nuclear Blast Records

 
“Hate Über Alles” CD//DD//LP track listing:
 
1. Sergio Corbucci Is Dead
2. Hate Über Alles
3. Killer Of Jesus
4. Crush The Tyrants
5. Strongest Of The Strong
6. Become Immortal
7. Conquer And Destroy
8. Midnight Sun
9. Demonic Future
10. Pride Comes Before The Fall
11. Dying Planet
 
The Review:
 
Kreator return with this- the latest studio album from the best of the Teutonic terrors of thrash. Kreator, of course, forged a reputation as perhaps the most extreme of the 80s thrash squads; the “Pleasure To Kill” album in particular was one of the only releases to rival “Reign in Blood” for intensity and violence.
 
Since their 80’s heyday the band has been through ups and downs but after a distinctly rocky 90s returned to a more thrash orientated sound on “Violent Revolution” and since then have gone from strength to strength. The albums from the band’s latter act- “Hordes of Chaos”, “Phantom Antichrist”, “Gods of Violence” have all been stellar examples of the band marrying an aggressive thrash approach with melodic choruses and guitar work. It’s a comfortable groove for the band and they have become a reliable proposition on record.
 
My pick of the latter-day records would be “Phantom Antichrist”- I think it does everything that Kreator do extremely well- and while I enjoyed “Gods of Violence” a lot I felt it was missing a little of the extremity and force of their earlier work. “Hate Über Alles” has the artwork and from the first notes when the full band kicks in on the title track, you can tell it has the production (having moved away from Jens Bogren to Arthur Rizk), but does it have the songs and vibe?
 
Well, this is firmly in the mould of latter day Kreator. “Killer of Jesus” has the chorus and melody, “Crush The Tyrants” is a mid-paced affair and thus is not what Kreator do best. “Strongest of the Strong” has a kind of Judas Priest vibe to the riffs and rhythms. So far, so good. Good riffs, playing choruses and arrangements. “Become Immortal” continues the Priest vibes with its triplet feel and reminiscing lyrics.

After a melodic intro, “Conquer and Destroy” ups the tempo and brings the thrash but settles into the melodic mid-paced bridge to chorus before blasting off again. “Midnight Sun” was an advance single and is one of the more experimental and interesting tracks here- it’s great, I think. It again repeats the thrash riffs and verses and then drops tempo for the chorus, but the female vocalist addition here is cool as is the chorus and themes. It’s a change for Kreator and a welcome one.
 
“Demonic Future” thrashes convincingly, “Pride Comes Before The Fall” and “Dying Planet” round the record off. It’s all good, it’s all convincing it’s all much better than any band of this vintage has any right to be. However, it’s by no means essential or flawless. The main issue here is memorability- yes, there are hooks but there is not that much that leaves an impression. The title track and “Midnight Sun” are probably the picks here and to be clear there are no bad tracks, but the intensity of old is missing, along with perhaps a little energy.
 
Overall, this is a decent late-period Kreator record. It is similar to “Gods of Violence”, but perhaps a little lesser than that one. It doesn’t quite reach the heights of “Phantom Antichrist” or “Hordes of Chaos” but… I’m grateful that Kreator are still around and still making quality music.
 
The German legends have their place cemented on the upper floors of the thrash building and their output easily outstrips the vast majority of metal bands there has ever been. If you compare their records of the last 22 years to that of, say, Metallica (and Slayer and Anthrax) well, Kreator are the clear winners. If you are a fan of the band, you must hear this. If you want a place to start, there are worse records to begin your journey with. While this may be ‘another Kreator album’ I do sincerely hope that there are more.
 
“Hate Über Alles” is available HERE 

Band info: Official || Facebook

ALBUM REVIEW: Kreator, "Violent Revolution" (Reissue)

By: Richard Maw
 
Album Type: Full Length (Reissue)
Date Released: 21/01/2022
Label:  Nuclear Blast

 
“Violent Revolution” CD//DD//LP track listing:
 
01. Reconquering The Throne
02. The Patriarch
03. Violent Revolution
04. All Of The Same Blood
05. Servant In Heaven - King In Hell
06. Second Awakening
07. Ghetto War
08. Replicas Of Life
09. Slave Machinery
10. Bitter Sweet Revenge
11. Mind Of Fire
12. System Decay
 
The Review:
 
Kreator are de facto my favourite German thrash band and, as has often been said, are the only thrash band from any nation in the mid 80s who made a record which rivals “Reign In Blood” for sheer violence and intensity. Of course, there is much more to the band's catalogue than just “Pleasure To Kill”.
 
While this album is not in the classic run which featured the aforementioned, “Endless Pain”, “Extreme Aggression” and “Terrible Certainty” (not in that order!) it is the first of Kreator's modern era purple patch which has run from this record through to “Phantom Antichrist” and “Gods of Violence”. After a somewhat shaky 1990s, the band really did roar back with this record. Kreator, to their credit, never went away but they had drifted from their core sound and simply did not maintain much of a presence when thrash found itself out of favour with the press.
 
I'm aware that the reissue features bonus tracks, but as I have only the album here... that is what I'll focus on. It's a fairly raging album. The band meld their socially conscious and socially liberal political leanings with righteous rage. Incredibly, this record is now over 20 years old and still sounds vital and relentlessly heavy.
 
Opening with “Reconquering The Throne” is a vicious mission statement; it really did reassert their thrash credentials at the time and listening to it now, it's no less potent. From there, the material is as weighty as it is well delivered. The production is pretty great; it's not like 2001 was 1971, but even so I was surprised, revisiting this, how clear and powerful the sound is. The drums in particular really benefit from the crystal clear mix and it sounds, well, just really good.
 
Pleasingly, it is also fairly relentless. There are no real detours into melodic territory which have featured more often in later records and instead this is just a pretty straight ahead thrash record, played and delivered expertly. It's a far cry from the endearingly inept “Endless Pain” but not quite as polished as “Gods of Violence”. In short, it is thrash metal with no surprises other than (un)pleasant familiarity.
 
While more mid paced material is not as interesting as the ragers here (“Servant in Heaven”), they are still engaging and nasty enough to be worthy of the band and the record. Strangely, “Violent Revolution” has never been an album from their discography I've played that much. I've usually gone for “Hordes of Chaos” or “Phantom Antichrist” as a go-to from the band's latter period... but I'm now wondering why I overlooked this.
 
As reissues go, this is well worth shelling out some cash for if you missed it first time around or if you never paid it much attention. The band keep the pedal to the metal right through to “Bitter Sweet Revenge” and “Mind of Fire” and the eleven tracks are all at least good- no clunkers. Negatives? Well, about the worst thing I can say is that a couple of tracks are a little long- but this is small beer really. The songs are pretty focused overall and certainly are fiery enough to power through on attitude and commitment even at the longer song running times.
 
“Violent Revolution” is available HERE 

Band info: facebook

ALBUM REVIEW: Exodus, “Persona Non Grata"

By: Richard Maw
 
Album Type: Full Length
Date Released: 19/11/2021
Label: Nuclear Blast

“Persona Non Grata” CD//DD//LP track listing:
 
 1. Persona Non Grata
 2. R.E.M.F.
 3. Slipping Into Madness
 4. Elitist
 5. Prescribing Horror
 6. The Beatings Will Continue (Until Morale Improves)
 7. The Years Of Death And Dying
 8. Clickbait
09. Cosa Del Pantano
10. Lunatic-Liar-Lord
11. The Fires Of Division
12. Antiseed
 
 
The Review
 
Exodus are back. Gary Holt is back in the fold full time and the rest of the band are present- with Steve “Zetro” Souza still at the mic. Tom Hunting laid down his drum parts before his battle with cancer (get well soon) while Lee Altus and Jack Gibson round out the line-up.
 
I've never made a secret of the fat that I favour Rob Dukes as THE Exodus front man, but no one (including me) can deny that “Zetro” has a fine voice for thrash and is viewed by most as the definitive Exodus vocalist. “Blood in Blood Out” was a fine reunion record, but a little front loaded and missing some of the spite of the Dukes years. 
 
“Persona Non Grata” comes after several years of Holt moonlighting with Slayer and a global pandemic. You'd expect, then, that the creative juices would be well and truly flowing as the band members focus on Exodus (and Heathen) full time.
 
The title track is up first and is a speedy thrasher- but it is too long. Much like some of the Dukes era material, it needed editing. It's vicious and speedy but it does, well, go on... “R.E.M.F” and “Slipping Into Madness” are more concise and thus more effective, with the latter being a convincing addiction tale that you can't help feel might be hitting close to home for a few or all of those playing it.
 
Exodus slow things down occasionally, too. “Prescribing Horror” is an example- and an effective one.  The advance track “The Beatings Will Continue (Until Morale Improves)” is simply vintage Exodus; a short, sharp cut that is made for the pit. It's magnificent, prescient in theme and has everything great about the band in three minutes.
 
As the album progresses, it takes shape. This is similar in approach to “Blood In, Blood Out”. It's occasionally speedy, always aggressive but its bark is a little stronger than its bite on some tracks. There is a lot of fairly mid-paced material over the course of the hour long playing time which is not something that the band necessarily excel at. Much like Iron Maiden, Metallica and some of the other classic thrash acts (even my beloved Overkill): editing is needed. Some tracks could say what they have to say in less playing time and also there is nothing wrong with delivering the best ten tracks rather than stretching material a little thin over twelve tracks.
 
It's churlish, but sometimes less music really is better than more. Exodus are better on razor sharp songs like “Clickbait” than they are on the blunt force of “The Years of Death and Dying”. It makes the album a little frustrating as my attention wandered a little from track to track- even if the production, lead work and performances are all great. There is a cool instrumental in the form of “Cosa Del Pantano” and it is a welcome detour into a different sonic sphere prior to the lengthy but effective “Lunatic Liar Lord”- which is as heavy as lead  and benefits from the thrashy pacing- and classic Exodus time changes. It's an example of the band doing an epic thrash track well but it loses momentum through the middle and outro sections.
 
“Persona Non Grata” is available HERE
  

Band info: facebook