The Pit

Septemebr 2024

1. Cavalera Conspiracy – “Inquisition Symphony” (from “Schizophrenia”, 2024) [Submitted by Daniel]

2. Dead Head – “Litany of the Weak” (from “Shadow Soul”, 2024)

3. Exhorder – “Ripping Flesh” (from “Mourn the Southern Skies”, 2019)

4. Sadus – “Certain Death” (from “Chemical Exposure”, 1988)

5. Bulldozer – “We Are Italian” (from “Neurodeliri”, 1988) [Submitted by Vinny]

6. Iron Age – “Dispossessed” (from “The Sleeping Eye”, 2009)

7. Hellripper – “Spectres of the Blood Moon Sabbath” (from “The Affair of the Poisons”, 2020)

8. Mortal Sin – “Voyage of the DIsturbed” (from “Face of Despair”, 1989)

9. Slayer – “Haunting the Chapel” (from “Haunting the Chapel”, 1984)

10. Torniquet – “Dysfunctional Domicile” (from “Psychosurgery”, 1990) [Submitted by Daniel]

11. Grip Inc. – “War Between One” (from “Nemesis”, 1997)

12. Pro-Pain – “The Beast Is Back” (from “The Truth Hurts”, 1994) [Submitted by Vinny]

13. The Offering – “Ultraviolence” (from “HOME”, 2019)

14. Anthrax – “C₁₁ H₁₇ N₂ O₂ S Na” (from “The Sound of White Noise”, 1993)

15. Mr. Bungle – “Spreading the Thighs of Death” (from “The Raging Wrath of the Easter Bunny Demo”, 2020)

16. Pizza Death – “Pizza Row” (from “Reign of the Anticrust”, 2023) [Submitted by Vinny]

17. Grove Street – “Shift” (from “Path to Righteousness”, 2023) [Submitted by Vinny]

18. Skeleton Pit – “Violent Raid” (from “Lust to Lynch”, 2020)

19. Project Pain – “Primator” (from “Brothers in Blood” 2018)

20. Diamond Plate – “At the Mountains of Madness” (from “Generation Why?”, 2011)

21. Aphrodite – "Dance Wild and Free" (from "Orgasmic Glory", 2021)

22. Wraith – “Fuelled by Fear” (from “Fuelled by Fear” 2024)

23. Knife - “No Gods in the Dark” (from “Heaven into Dust”, 2023)

24. Possessed – “Confessions” (from “The Eyes of Horror EP”, 1987) [Submitted by Vinny]

25. Merciless – “Branded by Sunlight” (from “The Treasures Within”, 1992)

26. Sarcofago – “Crush, Kill, Destroy” (from “The Laws of Scourge”, 1991)

27. Warfare – “Abortion Sequence” (from “Mayhem Fuckin’ Mayhem”, 1987)

28. Mekong Delta – “The Principle of Doubt - Chapter 3 Taken From 'The Chronicle of Doubt” (from “The Principle of Doubt”, 1989)

29. Voivod – “Nuclear War” (from “War and Pain”, 1984)

Ben, please add the 1985 "Australia, Australia" E.P. from Melbourne outfit Depression under crossover thrash.

At this point Flotsam and Jetsam have really honed in on what they're doing and, even though I'm not incredibly impressed by it, I gotta give them points for consistency. Ever since their self titled album in 2016 they've had a string of solid releases that don't hold any surprises, but have a few key songs that are exactly what I want out of their more accessible and hooky Thrash Metal sound. F&J are about as straightforward as they come nowadays with fast and furious, but still tight riffing that complements Eric A.K.'s soaring vocals that, for me, are the big selling point of this band compared to other legacy Thrash acts. Although it feels like I've heard this all before from their previous albums, F&J still have a knack for writing great choruses that are absolute earworms, like "The Head of the Snake" and the succinct title track "I Am The Weapon". Sadly everything else on this album kind of runs together for me, even though I enjoy it when I'm actively paying attention to it. There's nothing bad here, but nothing great either, which I think is fine for what this band is going for as the singles that are strong are very strong, but the rest of the album kind of falls behind. That's the risk you run when you put so much stock in choruses, where "Running Through the Fire", "Gates of Hell", "Cold Steel Lights", and "Kings of the Underworld" fall flat as they're either lacking in energy, ideas, or just don't hold up to their peers on the same album. There isn't a whole lot of variety on I Am The Weapon but at least "Beneath the Shadows" goes for a satisfying syncopated riff to break up the middle of the album. 

3/5

This prog-thrash highlight starts with clean acoustic melancholy before descending into Vektor-ish chaos:

A few new releases that I'll be checking out over the next month or so:

Flotsam & Jetsam - "I Am The Weapon" [Thrash metal from Arizona, USA]

Bewitcher - "Spell Shock" [Speed metal from Portland, USA]

Agent Steel - "Mad Locust Rising - Live at Hammersmith Odeon" [Speed metal from Los Angeles, USA]

Kate's Acid (aka Acid) - "Blowing Your Ears Off at "Keep It True" 2023" [Speed metal from Brugge, Belgium]

I'm still not sure what defines When Time Becomes Loss as technical thrash metal, but I know what I like and this record is certainly one of the better thrash metal albums I've heard in 2024. This record has all of the juicy aspects that I appreciate in a modern thrash album; short runtimes, catchy hooks, audible vocals, tasteful guitar solos that do not rely purely on wankery, and a discontent for extended instrumental noodling. I also really enjoy how nostalgic it feels; the record does have a production to it that is indebted to the past with lots of reverb and is similar to the earliest death/thrash albums by Death and Slayer, but with performances that sound closer to bands such as Vektor keep When Time Becomes Loss firmly in the 2020s. It's the kind of thrash that resonates with me that I didn't really expect, but with so many good modern trends in addition to nostalgia baiting, I found myself getting lost to time more than I care to admit with this album.

4/5

I've had to adjust my Top Ten Technical Thrash Metal Releases of All Time list after checking out this month's The Pit feature release as it's a belter:

01. Coroner – “Mental Vortex” (1991)

02. Sadus – “A Vision Of Misery” (1992)

03. Hemotoxin - "When Time Becomes Loss" (2024)

04. Sadus - "Swallowed in Black" (1990)

05. Obliveon - "Nemesis" (1993)

06. Coroner – “No More Color” (1989)

07. Hellwitch - "Syzygial Miscreancy" (1990)

08. Cryptic Shift – “Visitations From Enceladus” (2020)

09. Ripping Corpse - "Dreaming With The Dead" (1991)

10. KAT - "Bastard" (1992)

https://metal.academy/lists/single/173

Testament – “Urotdukidoji” (from “Low”, 1994)

Benediction – “Wrong Side of the Grave” (from “Transcend the Rubicon”, 1993)

Coroner – “The Lethargic Age” (from “Grin”, 1993)

Sadist – “Sometimes They Come Back” (from “Above The Light”, 1993)

Thanks Daniel, that Benediction track is an absolute banger.

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=37a5a00698534790

1. Cavalera Conspiracy – “Inquisition Symphony” (from “Schizophrenia”, 2024) [Submitted by Daniel]

2. Dead Head – “Litany of the Weak” (from “Shadow Soul”, 2024)

3. Exhorder – “Ripping Flesh” (from “Mourn the Southern Skies”, 2019)

4. Sadus – “Certain Death” (from “Chemical Exposure”, 1988)

5. Bulldozer – “We Are Italian” (from “Neurodeliri”, 1988) [Submitted by Vinny]

6. Iron Age – “Dispossessed” (from “The Sleeping Eye”, 2009)

7. Hellripper – “Spectres of the Blood Moon Sabbath” (from “The Affair of the Poisons”, 2020)

8. Mortal Sin – “Voyage of the DIsturbed” (from “Face of Despair”, 1989)

9. Slayer – “Haunting the Chapel” (from “Haunting the Chapel”, 1984)

10. Torniquet – “Dysfunctional Domicile” (from “Psychosurgery”, 1990) [Submitted by Daniel]

11. Grip Inc. – “War Between One” (from “Nemesis”, 1997)

12. Pro-Pain – “The Beast Is Back” (from “The Truth Hurts”, 1994) [Submitted by Vinny]

13. The Offering – “Ultraviolence” (from “HOME”, 2019)

14. Anthrax – “C₁₁ H₁₇ N₂ O₂ S Na” (from “The Sound of White Noise”, 1993)

15. Mr. Bungle – “Spreading the Thighs of Death” (from “The Raging Wrath of the Easter Bunny Demo”, 2020)

16. Pizza Death – “Pizza Row” (from “Reign of the Anticrust”, 2023) [Submitted by Vinny]

17. Grove Street – “Shift” (from “Path to Righteousness”, 2023) [Submitted by Vinny]

18. Skeleton Pit – “Violent Raid” (from “Lust to Lynch”, 2020)

19. Project Pain – “Primator” (from “Brothers in Blood” 2018)

20. Diamond Plate – “At the Mountains of Madness” (from “Generation Why?”, 2011)

21. Aphrodite – "Dance Wild and Free" (from "Orgasmic Glory", 2021)

22. Wraith – “Fuelled by Fear” (from “Fuelled by Fear” 2024)

23. Knife - “No Gods in the Dark” (from “Heaven into Dust”, 2023)

24. Possessed – “Confessions” (from “The Eyes of Horror EP”, 1987) [Submitted by Vinny]

25. Merciless – “Branded by Sunlight” (from “The Treasures Within”, 1992)

26. Sarcofago – “Crush, Kill, Destroy” (from “The Laws of Scourge”, 1991)

27. Warfare – “Abortion Sequence” (from “Mayhem Fuckin’ Mayhem”, 1987)

28. Mekong Delta – “The Principle of Doubt - Chapter 3 Taken From 'The Chronicle of Doubt” (from “The Principle of Doubt”, 1989)

29. Voivod – “Nuclear War” (from “War and Pain”, 1984)

Sepultura -"Chaos A.D." (1993)

Continuing my Groove Metal List Challenge (finally) and time to go back to my youth with the fifth full length release from a band who had a hard act follow as I simply adored their previous offering, Arise from two years earlier. Arise had it all for me, solid structures, great production and still that fantastic hunger to it that exemplified the fathomless appetite for thrash metal tat the band clearly had. I do not recal that I had heard any other albumby the Seps at that time even so I had no idea of the murkier beginnings from which they came. To me, the bar was set high by Arise at the time and only coming to their early releases many years later actually enhanced my enjoyment of the album as it was clear throughout all of the releases, up to and including Arise, that Sepultura had grown with each release. Inevitably, that progression would slow down and be replaced by some new influences. The tribal trappings of Roots which was still some three years away at this point were more than clear when Chaos A.D. dropped. Instrumental track, Kaiowas clearly showing the tide that was growing behind the more groove orientated direction the band deployed overall on Chaos A.D. and whilst I would not say the intensity levels dropped too much as a result, the quality levels unfortuantely took a hit.

Despite giving it many chances, even buying it on CD the second it came out, I could never shake the feeling that Chaos A.D. was a huge let down. A top heavy record to my ears, by the time we get to track seven there is a noticeable dip in quality from what has come prior. Despite flashes of promise from the likes of Nomad, there is little comparable quality to the likes of Refuse/Resist, Territory and Slave New World that open the record so strongly. Tracks such as We Who Are Not As Others just come across as lazy by comparison and ultimately the album feels like it is made by a band who ran out of steam very quickly. The inclusion of the New Model Army cover of The Hunt is the only other real high point of the album for me. The politcal machinations of tracks like Manifest just feel like immature musings and Biotech is Godzilla should have been left on the cutting room floor.

It is disappointing when a band's golden run comes to an end, even though in this case, Arise is a real high point to finish theirs on. With Chaos A.D. I get the sense that the growth of groove metal became something of distraction for the band and the song structures just became a tad quirky as a result. I have listened to little if any Sepultura records after this one in all honesty and each time I approach it, I sort of want to like it more than I know I am going to. My score has remained consistent over the years though and there is little chance some three decades after first hearing it of that changing I am afraid.

3/5

Here's my review:

Let's be honest with ourselves, US thrash metal legends Testament had gone off the boil a bit during the first half of the 1990's. While records like 1990's "Souls of Black" & 1992's "The Ritual" where serviceable enough metal albums, they weren't really at the same class as the bands more highly regarded 80's releases so I'd imagine that Testament were feeling a little bit of pressure to revive their heyday. The fact that "The Ritual" also saw them watering their sound down a touch with a stronger heavy metal influence probably didn't help & I feel that Testament's sixth full-length "Low" is probably a bit of a reaction to the negative impressions they would have received from some sections of the thrash metal community as it sees Testament returning with arguably their heaviest release to the time. The success of Pantera & the groove metal genre was clearly not lost on the Californians as "Low" sees Testament dropping most of the more accessible heavy metal leanings of "The Ritual", down-tuning their guitars further than ever before (generally a step or a step & a half) & throwing in deeper, almost death metal growls from time to time. Now, that probably sounds like it should offer me a fair bit of appeal on paper but the reality is that I haven't returned to "Low" since the mid-90's so there's gotta be something in that, right? The decades since have seen me largely forgetting about this record so it's time for a revisit to see where it sits in Testament's prestigious back catalogue to the time.

Let's get one thing straight right from the offset, "Low" is still first & foremost a thrash metal record so I don't think too many diehard fans would have been turned off by the stylistic changes the band had opted for on their sixth full-length. It's just that it "feels" a little more like a groove metal record at times & the reason for that is the extra down-tuning which takes a little bit of the shred out of the more exciting riffs in hope that the extra bottom-end will appeal to the mid-90's market a little more. I'm not sure whether it did or not but I can certainly say that I prefer Testament's thrashier & more electric sound personally. Chuck Billy's attempts at a more guttural delivery aren't too bad though & I know that was something that excited me the first time Ben played me his CD copy of "Low" shortly after release. These stylistic changes see many of the twelve tracks falling into the space between thrash & groove metal which is the reason why many people seem to tag "Low" as such (me included).

The inclusion of a ballad had become somewhat of a formality for Testament over the course of the previous three records & here we see them pulling it off with aplomb as the emotive "Trail of Tears" is one of the clear highlights of the album. It's interesting that Testament had also opted to include two instrumentals here too, both of which see them taking the listener into some fresh stylistic space to varying levels of success. I particularly enjoy the contribution of bass player Greg Christian on those numbers with him showcasing a clear Geezer Butler influence on both occasions. The centrepiece of any Testament album is generally reserved for the lead guitar parts though & "Low" is no exception with hired gun virtuoso James Murphy having filled the vacant position left by wonderful shredder Alex Skolnick & pulling it off with ease too. I've always been a huge fan of Murphy & he delivers one of his more restrained & diverse performances here, giving the song-writing exactly the sort of colour & highlights it required.

The main issue that holds "Low" back from becoming a more significant Testament record than their previous two though, is the lack of any classics in the tracklisting. The song-writing is gernally pretty decent with the band maintaining a level of class & professionalism throughout but there really aren't any songs that can compete with Testament's best work. My favourite numbers are clearly the before-mentioned "Trail of Tears" & the unusual instrumental track "Urotsukidôji" but neither seem to reach above a very solid level. There are also a couple of tracks that do very little for me & could probably have been culled in the obvious groove metal number "Legions (In Hiding)" & the rhythmic "Shades of War", both which are sorely lacking in the hooks department. I've never been the biggest Chuck Billy fan but he's always gonna struggle with his limited vocal prowess when the hooks aren't strong enough to carry him.

At the end of the day though, "Low" is another decent Testament record that should keep fans of the band on the hook. It's unlikely to draw in too much of a new fanbase though in my opinion. I'd suggest that it's a better record than "Souls of Black" was but would probably favour "The Ritual" over it just slightly. There's no question that it's a clear step down from the trio of 1980's albums that came during Testament's peak period though & the days when I would look forward to every new release from the band had clearly sailed past by this point.

For fans of Overkill, Annihilator & Anthrax.

3.5/5

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=ddd8a8780fbb46f4

1. Annihilator – “Set the World on Fire” (from “Set the World on Fire”, 1993) [Submitted by Daniel]

2. Forbidden – “Step by Step” (from “Twisted into Form”, 1990) [Submitted by Vinny]

3. Death Angel – “Thrashers” (from “The Ultra-violence”, 1987) [Submitted by Vinny]

4. Destruction – “Mad Butcher (1986 version)” (from “Mad Butcher”, 1987) [Submitted by Vinny]

5. Dark Angel – “Hunger of the Undead” (from “Darkness Descends”, 1986)

6. Beatrix – “White Phosphorus” (from “Sacrificial Black Metal Bitch”, 2024)

7. Motörhead – “Burner” (from “Bastards”, 1993) [Submitted by Daniel]

8. Anthem – “Voice of Thunderstorm” (from “No Smoke Without Fire”, 1990) [ Submitted by Daniel]

9. Anthrax – “Deathrider” (from “Fistful of Metal”, 1984)

10. Nifelheim – “The Bestial Avenger” (from “Servants of Darkness”, 2000)

11. Sodom – “Outbreak of Evil” (from “In the Sign of Evil/Obsessed by Cruelty”, 1985)

12. Kreator – “When the Sun Burns Red” (from “Coma of Souls”, 1990) [Submitted by Vinny]

13. Cavalera Conspiracy – “Septic Schizo – Re-Recorded” (from “Schizophrenia – Re-recorded”, 2024) [Submitted by Vinny]

14. Obliveon – “Frosted Avowals” (from “Nemesis”, 1993) [Submitted by Vinny]

15. Overkill – “World of Hurt” (from “I Hear Black”, 1993) [Submitted by Daniel]

16. Corrosion of Conformity – “Consumed” (from “Animosity”, 1985)

17. Cryptic Slaughter – “Money Talks” (from “Money Talks”, 1987)

18. Municipal Waste – “Sadistic Magician” (from “The Art of Partying” 2007)

19. Sacred Reich – “Product” (from “Independent”, 1993) [Submitted by Daniel]

20. Sepultura – "Drug Me" (from "Third World Posse EP", 1992) [Submitted by Daniel]

21. Hemotoxin – “Morbid Reflection” (from “When Time Becomes Loss” 2024) [Submited by Vinny]

22. Ripping Corpse - “Anti God” (from “Dreaming with the Dead”, 1991) [Submitted by Vinny]

23. Artillery – “The Challenge” (from “Terror Squad”, 1987) [Submitted by Vinny]

24. Onslaught – “Contract in Blood” (from “The Force”, 1986) [Submitted by Vinny]

25. Exodus – “Karma’s Messenger” (from “Shovel Headed Killing Machine”, 2005) [Submitted by Vinny]

26. Kittie – “I Still Wear This Crown” (from “Fire”, 2024) [Submitted by Vinny]

27. Legion – “Lethal Liberty” (from “Legionized”, 2022)

That would be because Ben has the release date pegged at 30th July 1984.

Ben, any particular reason for that?

No idea. One of the very first albums I added. Just corrected now.

Testament - "Return to the Apocalyptic City" E.P. (1993)

Ben & I had been pretty big fans of Californian thrash metallers Testament for a good four years by the time this six-track live release hit the streets in 1993. I'd enjoyed all of their records up until that time but the last couple had seen the impressive quality levels of the first three Testament albums dipping a touch so I wouldn't say that I was busting to get my hands on their next record but I still found myself parting ways with my hard-earned cash for this little live release as soon as I noticed it's ball-tearing cover artwork sitting on the record store shelf. "Return to the Apocalyptic City" offers four live tracks which were recorded at a recent show at the Los Angeles Palladium as well as a studio cut from the sessions for 1988's "The New Order" album & a shortened version of "Return To Serenity" from Testament's latest record "The Ritual". All of this material is entertaining, particularly the live versions of "Over the Wall", "So Many Lies" & "Disciples of the Watch". My favourite inclusion is the studio cut "Reign of Terror" though which is the fastest & thrashiest number on offer & had been popping up in Testament live sets since way back in 1984 when they were still known as Legacy. The performances are all strong, particularly the guitar solos of Glen Alvelais & Alex Skolnick which are a real highlight. The production is also much better than the awful sound quality Testament had to contend with on their only previous live release in 1987's "Live at Eindhoven" E.P. which gives "Return to the Apocalyptic City" a clear edge over that record in my opinion. This one should definitely interest most Bay Area thrash fans, even if its format makes it fairly inessential in the grand scheme of things.

For fans of Metallica, Exodus & Megadeth.

4/5

Here's my review:

I have to admit that the trend to re-record previously released material with modern-day technology is not one that I'm particularly fond of. Rarely does it see the desired results being achieved by bringing something fresh & different to an album that's generally already got its own loyal following so the idea of the Cavalera brothers having another crack at Sepultura's highly regarded 1987 sophomore album "Schizophrenia" wasn't one that immediately filled me with anticipation. Their recent re-recordings of Sepultura's more primitive earlier releases "Bestial Devastation" & "Morbid Visions" had certainly been reasonably successful but "Schizophrenia" was a much more sophisticated record & I struggled to see a reason to want to give it a new coat of paint when the old one was still in pretty good nick. You see, I've always been a big fan of the original version of "Schizophrenia". I picked it up on cassette when I was still a youngster, shortly after becoming completely infatuated with Sepultura's classic 1989 "Beneath the Remains" album. It was an immediate hit in my household & has received many revisits over the years so I can't say that I wasn't pleased that Ben gave me a reason to investigate the revitalized version by nominating it as this month's "The Pit" clan feature release. I just wasn't expecting to be wowed in the process.

The band that the Cavalera brothers assembled for the task is a little different to the one they went with for their previous re-recorded efforts. Max's son Igor Cavalera Jr. (Go Ahead & Die) is still there on bass guitar but the lead guitar slot that was previously being filled by Gruesome/Possessed/Proscriptor McGovern's Apsû axeman Daniel Gonzalez is now being owned by Igor Jr.'s former Healing Magic & Lody Kong bandmate Travis Stone (Noisem/Pig Destroyer) on this occasion. I have to say that I haven't been majorly impressed with Stone's work here though as he lacks the polish of the very capable Andreas Kisser which leaves the guitar solos seeming like less of an emphatic statement than they were on the original.

So... how is the production job that is largely the reason for conducting this exercise in the first place then? Weeeellll... it certainly sounds a lot cleaner, brighter & more in your face than the original did but it's not without its issues either. The drenching of Max's vocals & Igor's toms in reverb was a strange decision & does tend to annoy me a little if I'm being honest. I'd suggest that Max's vocals simply aren't as strong any more so the decision was made to hide his deficiencies a little through studio trickery but it hasn't really worked because it's still as plain as day if you ask me & I much prefer his gruntier contribution on the original version. That's not to say that I get nothing out of this glossier model though because that's not the reality at all. As most people will probably do as some point, I decided to whack on the 1987 version immediately after my third spin of the revamped one in order to see the differences & they were far more stark than I realised previously. In fact, the original version sounds a lot like a demo recording in that context & I was surprised by just how deficient it appeared to be in retrospect because I've never had too much of a problem with it in the past. Perhaps there was a good reason that Cavalera's decided to give another crack after all then.

The tracklisting is unsurprisingly impeccable with no weak numbers being included. Opener "From the Past Comes the Storms" is still my pick of the bunch but I feel that the lengthy instrumental "Inquisition Symphony" also really shines here & gives it a run for its money. "To The Wall", "Escape to the Void" & "Septic Schizo" are perhaps not quite as classic in this environment as I remember them being back in the day which is interesting. The two intros/interludes have been recreated in slightly different forms but I wouldn't say that either are as effective as they once were so perhaps they would have been off simply remastering the originals. The inclusion of an Igor Jr. penned new original in "Nightmares of Delirium" is probably the most significant point of interest here but I'd suggest that it's also the weaker of the proper metal songs on offer, even if it's still worth a few listens. So overall we have more losses than wins but it's nothing drastic as the album is still highly entertaining, mainly because "Schizophrenia" is a total riff-fest & nothing has changed there.

Was it really worth the effort to re-record this old classic? Perhaps. I mean it certainly contains more energy & vitality than the original mix did but I'd have to argue that I still enjoy the 1987 version a little more. I can't deny that I had a good ol' headbang to this one on the way to & from work on Friday though as this is some pretty premium thrash metal after all. It's probably not terribly essential if you already own a copy of Sepultura's version from back in the day though. Let sleeping dogs lie I say. So, why have I awarded the release such a good score you may ask? Well, I choose to treat every release on its own merit when creating reviews & this is still a fine example of South American thrash in my opinion so it'd be inaccurate for me to suggest otherwise with a reduced rating simply because I like it a touch less than Sepultura's version.

For fans of Sepultura, Slayer & Sodom.

4/5

Thrash/Speed Metal Annihilation (on Spotify)

1. Metallica – “Disposable Heroes” (from “Master of Puppets”, 1986) [Submitted by Sonny]

2. Slayer – “Behind the Crooked Cross” (from “South of Heaven”, 1988) [Submitted by Sonny]

3. Sodom – “Hunting Season” (from “Tapping the Vein”, 1992) [Submitted by Daniel]

4. Testament – “The Formation of Damnation” (from “The Formation of Damnation”, 2008) [Submitted by Vinny]

5. Aura Noir – “Caged Wrath” (from “Black Thrash Attack”, 1996) [Submitted by Daniel]

6. Lucifuge – “Gates of the Eternal Night” (from “Hexensabbat”, 2024) [Submitted by Vinny]

7. Demiser – “Infernal Bust” (from “Infernal Bust”, 2024)

8. Bed of Nails/Dysmorphia – “Blood on the Horns” (from “Skullberg”, 2024) [Submitted by Vinny]

9. Municipal Waste – “Mutants of War” (from “Waste ‘Em All”, 2003) [Submitted by Sonny]

10. Doomsday – “Attaining Heaven by Force” (from “Depictions of Chaos”, 2022)

11. Critical Defiance – “The Search Won’t Fall” (from “The Search Won’t Fall”, 2024) [Submitted by Daniel]

12. Evil Dead – “Raising Fresh Hell” (from “Toxic Grace”, 2024) [Submitted by Vinny]

13. Exhorder – “Unforgiven” (from “The Law”, 1992) [Submitted by Daniel]

14. Toxic Holocaust – “War is Hell” (from “Evil Never Dies”, 2003) [Submitted by Sonny]

15. Wraith – “Heathen’s Touch” (from “Heathen’s Touch”, 2024)

16. Violator – “Addicted to Mosh” (from “Chemical Assault”, 2006) [Submitted by Sonny]

17. Annexation – “A.T.R.” (from “Inherent Brutality”, 2020) [Submitted by Vinny]

18. Solstice – “Cleansed of Impurity” (from “Pray for the Sentencing” 1992) [Submitted by Daniel]

19. Goatwhore – “Externalize This Hidden Savagery” (from “Constricting Rage of the Merciless”, 2014) [Submitted by Vinny]

20. Nekromantheon – "Thanatos" (from "The Visions of Trismegistos", 2021)

21. Violent Force – “Dead City” (from “Malevolent Assault of Tomorrow” 1987) [Submited by Sonny]

22. Vektor - “Activate” (from “Activate”, 2020)

23. Sadus – “Machines” (from “A Vision of Misery”, 1992) [Submitted by Daniel]

24. Exorcizphobia – “Voice of the War” (from “Disease Inside”, 2009)

25. Ultra-Violence – “Welcome to the Freakshow” (from “Operation Misdirection”, 2018)

26. Slave Agent – “Slaughter at the Gate” (from “Silent Universe”, 2024) [Submitted by Saxy]

27. Shrapnel – “Might of Cygnus” (from “Palace for the Insane”, 2020)

28. A Life Once Lost – “Vulture” (from “Hunter”, 2005) [Submitted by Vinny]

29. Znöwhite – “To the Last Breath” (from “Act of God”, 1988) [Submitted by Sonny]

Got stuff on tomorrow so getting this up early.

Here's my review:

Montreal technical thrashers Obliveon were a pretty big band for me back in the early 1990’s with both of their first two releases playing relatively important roles in my musical journey as I became "progressively" more interested in the more technical side of extreme metal (see what I did there?). I first discovered them through a dubbed copy of their 1990 debut full-length “From This Day Forward” which I really dug & kept in my Walkman for a few solid months. That prompted me to seek out 1993’s “Nemesis” sophomore album from the tape trading scene as soon as it was released & both records would play a role in me taking my own band’s sound into more expansive structural territories over the next few years, even if I opted for a much more deathly sound. These two releases would be where my journey with Obliveon ended though as the idea of them moving to more of a groove metal sound didn’t appeal to me much so I have to admit that I’m still yet to check out Obliveon's two mid-to-late 1990’s records. Regardless of that oversight, I’m excited to relive my time with Obliveon this week, particularly given that my recent revisit of “From This Day Forward” was so successful.

It's interesting that Xephyr has had such issues with the production job on “Nemesis” because, outside of the strangely off-putting lead guitar tone that appears when they present some of their more progressive & melodic ideas, I struggle to hear the flaws he’s described if I’m being honest. Sure, the drums have a mechanical feel but that works in pretty nicely with the complexity of the riff structures in my opinion. I don’t find that the guitars lack depth or the vocals are too loud either. To my ears everything seems to be pretty well balanced & more than appropriate for an extreme metal release of the time. Perhaps I’m just very used to this record after all these years or are simply more comfortable with early 90’s metal releases in general given my pedigree? I dunno but let’s just say that the production isn’t an issue for me & leave it at that. In fact, I love how the bass guitar cuts through the mix so nicely & everything is so clear & intelligible, despite the incredible technicality on show.

Obliveon have often been claimed as a death/thrash hybrid & you can easily see why. The main selling point for the links to death metal can be found in the vocals which come across as a deathly version of Kreator front man Mille Petrozza & are more than adequate to get the job done. Instrumentally, Obliveon lean comfortably over towards the thrash side of the equation though & I don’t think you’ll be shocked by the extremity of “Nemesis”. It’s not about brutality, instead being weighted heavily towards class, sophistication & execution which are all boxes that it ticks in unanimous fashion throughout the eight tracks on offer. There’s no doubt that Obliveon were pushing the complexity levels right up to the outer thresholds that the metal scene had achieved to the time & they seem to do it really easily too. The talent on show is astounding at times &, unlike some of their tech thrash peers, that element can be seen across the board with the rhythm section being particularly impressive. There’s definitely some commonality in the way the riffs are structured as Obliveon tend to favour a spider-fingered, palm-muted, single-string style of riff that’s performed extremely tightly & if you can buy into that technique (which I clearly can) then you’re in for a real treat as few can do it as well as it’s been done here. I’m a big fan of the way the bass guitar is used & there's are a lot of interesting yet subtle colour added through the drum fills that bring a lot to the overall package too. My only complaint might be that there could have been a little less restraint shown in the guitar solos which often take a more melodic approach than one would normally expect from their thrash.

As with “From This Day Forward”, Obliveon struggle to create genuine highlight tracks here though & a lot of that comes down to the fact that it’s difficult to achieve that when your song structures are focused so heavily on complexity. They do manage to reach that elusive pinnacle on “Frosted Avowals” though which is easily my favourite Obliveon track & made a significant impact on me back in the day. The quality level dropped just a touch at the end of “From This Day Forward” but that’s not the case with “Nemesis” which is slightly more consistent & that’s probably the main reason why I tend to favour it over its elder sibling. There’s not a lot between them though & I’d suggest that both should be essential listening for fans of the more technical side of extreme metal.

For fans of Vektor, Voivod & Аспид.

4/5

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=954bf3ca29004418

1. Orbit Culture – “While We Serve” (from “The Forgotten”, 2023)

2. Kerry King – “Idle Hands” (from “From Hell I Rise”, 2024) [Submitted by Vinny]

3. Xentrix – “Reasons for Destruction” (from “Shattered Existence”, 1989)

4. Tankard – “Traitor” (from “Chemical Invasion”, 1987) [Submitted by Sonny]

5. Testament – “Agony” (from “The Ritual”, 1992) [Submitted by Daniel]

6. Acid Reign – “Motherly Love” (from “Moshkinstein”, 1988) [Submitted by Sonny]

7. Forced Neglect – “The Poison of the Fang” (from “The Poison of the Fang”, 2020)

8. Leeway – “Rise & Fall” (from “Born to Expire”, 1989)

9. Exodus – “Feeding Time at the Zoo” (from “Force of Habit”, 1992) [Submitted by Daniel]

10. Possession (US) – “Legion” (from “Disentombed Manifestations”, 2020)

11. Devastation – “Forsaken Hatred” (from “Idolatry”, 1991) [Submitted by Daniel]

12. Detherous – “Gruesome Tools of Torture” (from “Unrelenting Malevolence”, 2022)

13. Heavens Gate – “Flashes” (from “Livin’ in Hysteria”, 2015)

14. Forced Entry – “Anaconda” (from “Uncertain Future”, 1989)

15. Running Wild – “Whirlwind” (from “Pile of Skulls”, 1992) [Submitted by Daniel]

16. Stress Angel – “Bursting Church” (from “Bursting Church”, 2021)

17. Mantic Ritual – “Panic” (from “Executioner”, 2009) [Submitted by Vinny]

18. National Suicide – “Death Roll” (from “Massacre Elite” 2017)

19. Demoniac – “The Trap” (from “So It Goes”, 2020) [Submitted by Sonny]

20. Pentagram (Chile) – "Devourer of Life" (from "Eternal Life of Madness", 2024) [Submitted by Sonny]

21. Malleus – “Into the Flesh” (from “The Fires of Heaven” 2023)

22. Wild Beyond - “In the Footsteps of Mars” (from “Wild Beyond”, 2023)

23. Diabolic Night – “Sovereigns of Doom” (from “beyond the Realm”, 2019)

24. Bad Wolves – “No Messiah” (from “N.A.T.I.O.N.”, 2019)

25. Kreator – “Karmic Wheel” (from “Renewal”, 1989) [Submitted by Daniel]

26. Belushi Speed Ball – “Ripping Off Municipal Waste” (from “What Us, Worry?”, 2022)

I had actually forgotten that I had started this thread, so here we go again...

Pentagram (CHL) - Demo #2 (1987)

Pentagram Chile's second demo was recorded in September 1987, comprises three tracks, The Malefice, Profaner and Temple of Perdition for a total runtime of sixteen minutes. Like the first demo, the sound here is pretty good with the "cavernous" sound that would become so crucial to a certain style of death metal in the nineties being present by default and adding a grimy "evilness" to the Pentagram sound. It also possesses a weighty bottom end, the bass anchoring the tracks with a really meaty presence in a way that is still a feature of chilean thrash to this day.

This isn't massively different to Demo #1, but there has obviously been some technical improvements to the playing and a degree of progression in their songwriting. The aggression they brought to the first demo was still present with hats definitely still tipped towards Slayer and Possessed, but there is a bit of complexity creeping in, with Profaner in particular going through any number of tempo changes in order to mix things up a bit.

Unfortunately, despite releasing two absolute killer demos in '87, the band couldn't generate any interest from labels either inside or outside Chile and so, in 1988 they split-up with Anton Reisenegger going on to form power / thrash outfit Fallout.

Another high-octane playlist this month, Vinny that was a perfect accompaniment to a hot and sweaty morning of concrete and brick-laying. Particular standouts that I was previously unfamiliar with were Messerschmitt, Thanatos and Electrocutioner. But wait... is The Pit declaring war on The North with that Lich King track?!

As often is the case, some of the groove tracks left me somewhat indifferent, LoG and Gangrena Gasosa, for example. Overall, though, this was a damn great listen and one I thoroughly enjoyed.

Interestingly, I really dig the cover version of Venom's "Heaven's on Fire" that appears as a bonus track on the Spotify version of the record & feel that it would have improved the album if it had of been included on the original release.

Here's my newly adjusted Top Ten Teutonic Thrash Metal Releases of All Time list that now includes Protector's "A Shedding of Skin" at the expense of Destruction's "Release From Agony":

01. Kreator - "Pleasure To Kill" (1986)

02. Kreator - "Flag Of Hate" E.P. (1986)

03. Kreator - "Coma Of Souls" (1990)

04. Kreator - "Extreme Aggression" (1989)

05. Protector - "A Shedding of Skin" (1991)

06. Exumer - "Rising Of The Sea" (1987)

07. Sodom - "Better Off Dead" (1990)

08. Sodom - "Persecution Mania" (1987)

09. Sodom - "Agent Orange" (1989)

10. Kreator - "Live Kreation" (2003)

https://metal.academy/lists/single/93

Used the playlist as the soundtrack to my dog-walking activities this morning, so I didn't keep track of the individual tracks, but enjoyed the list as a whole immensely with only three or so songs that missed the mark for me, with the last one (Mordred) being the hardest for me personally to swallow. Some really great stuff elsewhere though and it helped me maintain a good pace throughout my walk-time!

Here's my review:

Chilean thrash metallers Critical Defiance & I have enjoyed a very fruitful relationship over the last five years. In a scene that has largely maintained itself purely off the back of its distant heritage, these South Americans have managed to release a couple of records that have proven to been worthy of my interest in their own right, particularly 2022's "No Life Forms" sophomore album which I consider to be fairly essential for fans of the modern-day Chilean thrash scene. So, I think it's fair to say that I had high hopes for the brand new follow-up album "The Search Won't Fall..." which has predictably been receiving a fair amount of praise from the underground thus far. It hasn't disappointed either with Critical Defiance delivering yet another solid piece of thrash metal designed specifically for an audience that have been starved of high-quality material in recent times.

The production job that "The Search Won't Fall..." is built on is pretty decent but is perhaps a little too heavy on the mid-range frequencies & I think the album could have done with a little more highs as a result. The musicianship is top notch though with the five instrumentalists all proving themselves to be highly proficient in their chosen crafts. As with "No Life Forms", we once again see the unusual inclusion of a third guitarist, a differentiator that the band make good use of but probably won't be picked up by the band's less informed listeners. I really enjoy the shredding Slayer-esque guitar solos which are generally well timed with former Demoniac shredder Nicolás Young being a welcome addition to the band. The song structures feature a crap-tonne of changes too although I struggle to see any justification for the tech thrash claims that seem to be associated with the album as I honestly can't hear anything particularly technical here. Front man Felipe Alvarado's aggressive vocals are well-suited to this style of music but its drummer Rodrigo Poblete (also formerly of Demoniac) that's the clear highlight of the album with his powerful, precise & exciting contribution clearly indicating the role that Slayer's Dave Lombardo has played a clear role in his musical up-bringing.

Stylistically, there's a bit more to Critical Defiance than your run-of-the-mill 80's-worshipping thrash outfit these days. They tend to mix things up a bit by throwing in some well executed curve balls & also varying their track lengths & song structures fairly drastically. You'll no doubt notice that there are a few longer & more expansive pieces included than we found on "No Life Forms" with some progressive options having been explored. There are a couple of tracks that showcase a clear black metal component too (particularly the outstanding "Full Paranoia") while "Long Distance (The What's to Come)" & "Absolüt" are built as much on speed metal as they are on thrash. You can also expect to receive a classical guitar piece ("The Blind Divine"), a progressive rock instrumental ("Margarita") & a full-throttle grindcore number ("All The Powers") so you can hardly claim "The Search Won't Fall..." to be samey. There aren't any weak inclusions either so it's a very consistent affair from a highly competent & experienced artist.

"The Search Won't Fall..." really does pick up where "No Life Forms" left off. It's another very solid release from Critical Deception that will likely come into consideration for my end of year list & will no doubt be receiving return visits from me in the future too. I'd suggest ignoring the tech thrash claims & going into the record expecting more of a Kreator/Vio-lence brand of aggressive thrash only with a slightly more adventurous edge that sees them drawing upon a more diverse array of artists such as Hellripper & early Emperor for inspiration at times.

4/5

My only previous experience of Kat was their previous album to this, 1988's "Oddech wymarłych światów" of which I was no great fan. In all honesty, Bastard has done very little to improve that situation. It just sounds oddly sloppy for an album that purports to be a technical-leaning release. I am not the world's biggest tech-thrash fan at the best of times, but this didn't chime with me at all. The riffs aren't engaging enough to appeal on a visceral level and the technical aspect feels forced and, well, just not that special. The pacing seems plodding at best and the soloing felt flat and uninspiring. Add to this the awful clean vocals that are occasionally employed for some reason and I just found myself getting irritated with the whole thing.

2.5/5

Thanks Sonny.  Actually one of the playlists that I have done at the last minute due to work being crazy at the mo.

Here's my review:

My introduction to German extreme metal outfit Protector came via their 1989 sophomore album "Urm the Mad" which I quite liked at the time & that experience led me to follow the band throughout their entire career. I've been pleased to see that they've been able to maintain a fairly consistent standard throughout with just the one blemish along the way too. Protector's 1987 debut "Misanthropy" E.P. has been a particular talking point for me over the years actually as, despite being claimed by many to be a thrash metal release, I regard it as not only being one of the earlier examples of genuine death metal you'll find but also one that eclipses some of the more prominent releases of the time as well. The Protector record that's most highly regarded though is unquestionably their 1991 third album "A Shedding of Skin" & with good reason too because it's an absolute beast of a death/thrash album.

Those of you that are new to Protector will not be left waiting long to find out what they're all about. The inclusion of a short one-minute intro track at the beginning of the record was a strange one as its pleasant new-age atmosphere has no place on an extreme metal release like this one but as soon as the proper songs kick in the listener is subjected to a savage beating like they've rarely experienced before. This album presents Protector's sound as the perfect amalgamation of death metal & Teutonic thrash metal with the death metal component taking the ascendency for the most part. The raw production is perfectly suited to this style of music with the guitars possessing a face-ripping quality that accentuates the aggression in the performances beautifully. The growled vocals of main man Olly Wiebel are deathly & evil which only provides further weight to the fully committed metal assault Protector unleash here with the Hannemann/King style guitar solos generally being saved for the most intense sections of the songs too. The influence of Teutonic thrash bands like Kreator & Sodom is important as the speeds that Protector reach during the thrashier sections is one of the record's main calling cards too.

There are clearly enough highlights included to justify my elite ratings but unfortunately I can't quite get there. The issue is more around quality control as, despite not including any real duds apart from the previously mentioned intro track, "A Shedding of Skin" is definitely a few tracks too long which sees it including a couple more filler tracks than I'd like. I feel that the duo could easily have dropped off two or three of the more thrashy numbers & still comfortably achieved an appropriate run time for a release like this one but, as it is, this is still a very fine death/thrash release that almost got there anyway. Fans of bands like Merciless, Possessed & Poison (the German one) will absolutely froth over this stuff so I hope a few of you will be converted to what is a largely overlooked but thoroughly deserving band.

4/5

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=fb82ec438748475b

1. Celtic Frost– “Nemesis” (from “Vanity/Nemesis”, 1990) [Submitted by Daniel]

2. Frightful – “Spectral Creator” (from “Spectral Creator”, 2021) [Submitted by Sonny]

3. Killjoy – “Enemy Within (Cycle of Insanity)” (from “Compelled by Fear”, 1990

4. Anthrax – “Armed and Dangerous” (from “Spreading the Disease”, 1985) [Submitted by Sonny]

5. Vulture – “Clashing Iron” (from “The Guillotine”, 2017)

6. Bombarder – “Speed Metal” (from “Speed Kill”, 1989)

7. Hellcrash– “Volcanic Outburst” (from “Demonic Assassinatiön”, 2023)

8. Hellish – “Goddess Death” (from “The Dance of the Four Elemental Serpents”, 2022) [Submitted by Sonny]

9. Lucifuge – “From Cosmos to Chaos” (from “Monoliths of Wrath”, 2023

10. Create A Kill – “Decimate” (from “Summoned to Rise”, 2023)

11. 8 Foot Sativa – “Perpetual Torment” (from “Breed the Pain”, 2004)

12. Soulfly – “Defeat U” (from “Prophecy”, 2004)

13. Cypecore – “Values of Life” (from “Take the Consequence”, 2010)

14. Lazarus A.D. – “Revolution” (from “The Onslaught”, 2007)

15. Ghoul – “Noxious Concoctions” (from “Noxious Concoctions”, 2024)

16. Exodus – “A.W.O.L.” (from “Impact is Imminent”, 1990) [Submitted by Daniel]

17. Cold Steel – “Full Tilt” (from “Deeper into Greater Pain”, 2023)

18. Torque – “H.L.S.” (from “Torque”, 2023)

19. Gama Bomb – “Mask of Anarchy” (from “BATS”, 2023) [Submitted by Sonny]

20. Xentrix – “Questions” (from “For Whose Advantage?”, 1990) [Submitted by Daniel]

21. Asylum – “Eternal Violence” (from “Tyrannicide”, 2022)

22. Distillator – “Guerilla Insurgency” (from “Revolutionary Cells”, 2015)

23. Flotsam & Jetsam – “Suffer the Masses” (from “When the Storm Comes Down”, 1990) [Submitted by Daniel]

24. Terminalist– “Frenetic Standstill” (from “The Crisis as Condition”, 2023) [Submitted by Sonny]

25. Eight Sins – “Street Trash” (from “Straight to Namek”, 2023)

26. Life Cycles – “Serpent’s Kiss” (from “Portal to the Unknown”, 2024)

27. Abandoned - “Visions of Death” (from “Thrash You!”, 2007)

28. Killing – “Killed in Action” (from “Face the Madness”, 2021)

29. Obliveon – “From this Day Forward” (from “From this Day Forward”, 1990) [Submitted by Daniel]

I agree that Hellripper is enjoyable, but lacking in what I really look for in my metal nowadays and only managed a 3.5 from me. Enforced was much more up in your face and better for it, garnering a 4.0. Demoniac was still my favourite thrasher of the year however and #4 on my yearly list behind Panopticon, Convocation & Khanate.

So with the start of a new year it's once again time to have a look at the covers for all the releases for each clan. I personally like to rate a whole stack of covers all at once, rather than doing them one at a time throughout the year, as it allows me to get a better feel for where each cover sits in comparison to others. With that in mind, I've just rated every cover for releases in The Pit for 2023.

Below are the releases that are currently competing for the prestigious 2023 The Pit Cover of the Year Award (i.e. they rate at least 3.7 and have 3 or more ratings). The winner will be announced on the 1st of February, so there's still time to get your ratings in.

Holy Moses - Invisible Queen