Daniel's Forum Replies

So I thought I'd give the lists section a test run by creating my "Top Ten Teutonic Thrash Release of 1987" list. Here's the link:

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

01. Exumer - "Rising From The Sea"

02. Sodom - "Persecution Mania"

03. Destruction - "Release From Agony"

04. Violent Force - "Malevolent Assault Of Tomorrow"

05. Sodom - "Expurse Of Sodomy" E.P.

06. Kreator - "Terrible Certainty"

07. Protector - "Misanthropy" E.P.

08. Holy Moses - "Finished With The Dogs"

09. Destruction - "Mad Butcher" E.P.

10. Tankard - "Chemical Invasion"

Feel free to share your thoughts or your own personal lists.

Aggressive Teutonic thrash for fans of Slayer, Celtic Frost & Motorhead.

Sodom - "Persecution Mania" (1987)

Sodom's second full-length album was a big record for me when I first discovered the band as a teenager back in 1989. I think I heard the follow-up "Agent Orange" first but ventured back to its older sibling very quickly & it's been my preferred Sodom release to this day. “Persecution Mania” saw the band taking full advantage of their talented new lead guitarist Frank Blackfire with a noticeably cleaner & more proficient delivery that had shed the rough-&-ready production values of Sodom's early blackened period in favour of a much more polished Harris Johns production. Musically, it's very much a combination of three distinct sounds. Firstly, you have a fast & aggressive Slayer-inspired form of thrash metal which is always exciting & really accentuates Tom Angelripper’s raspy vocal delivery. Then you have a jangly, bass guitar-driven & inherently fun form of speed/heavy metal that’s obviously a tribute to Sodom’s beloved heroes Motorhead. And finally, you have a chuggier mid-paced form of thrash that’s similar to early Celtic Frost. All of the faster, thrashier tracks include these slower chuggy sections sections at some stage & I can’t help but feel that they detract from the overall effect a little due to their more calculated & generic nature. The song-structures seem to have been loosely pasted together at times too as Sodom were still very much learning their craft. Tom’s bass work has improved out of sight & his vocal performance still sounds genuinely incisive today. I really do love the faster parts of the album but those mid-tempo parts haven’t aged as well as I’d hoped & this has contributed to me scoring the album slightly lower than I would have back in the day when it represented a minor obsession for me.

For fans of Slayer, Celtic Frost & Motorhead.

4/5

The best thing you can do to speed things up there is to recruit more active members Andi. Any help we can get in that regard would be greatly appreciated.

Devin Townsend wishes you all a very merry Xmas.

Brutal death metal from Seattle, USA.

Here's a taste of the brand new live album from Maryland djent masters Periphery entitled "Live In London".

That's a really good question & one that I've pondered on from time to time. I can't think of any other way around this other than to limit the changes to one per Hall entry & to allow multiple Hall submissions per release. I'll have a chat with Ben about it over the coming days.

While we figure that out, the most important part of this particular vote is that we get the release into the right clans so I'd suggest that you base your call on whether or not you feel that the album should be removed from The Pit.

Thrashy progressive metal from Quebec, Canada. For fans of Vektor, Coroner & Watchtower.

Andi, if you haven't checked this one out then I'd suggest you do.

Voivod - "Killing Technology" (1987)

The third album from unusual Canadian thrash metallers Voivod is a significant release in their back catalogue in that it sees the band taking huge strides towards a much more ambitious & progressive sound. Voivod's first two albums certainly hinted at a prog rock influence but were predominantly driven by a blend of Venom/Motorhead & hardcore punk worship whereas "Killing Technology" categorically leaps straight off the platform into a progressive wilderness previously traversed by Syd Barret era Pink Floyd whilst never losing the fast-paced energy of the band's early works. For that reason, it very much represents the mid-point in Voivod's creative transition into a fully-fledged progressive outfit but is this really a thrash metal release? Well, in a word... no it isn't. There's undeniably more thrash here than on any of Voivod's other classic period releases (particularly in the drumming which seems to have taken influence from the likes of Slayer's Dave Lombardo) but thrash is still just one of many tools at the band's disposal & there's probably even more punk included in all honesty (see the urgent tempos, quirky vocals & open-string guitar work). To my ears the primary focus is always on making progressive music like none that we'd heard before or since & for that reason I've always struggled with Voivod's links to thrash. Still... "Killing Technology" is another genuinely fascinating musical excursion from one of metal's most unique entities. I think Voivod's best work would come the following year with their classic "Dimension Hatröss" album where they would take their new sound even further but "Killing Technology" isn't far behind in second place in my opinion & should be essential listening for fans of metal music that takes genuine risks & challenges the listener.

For fans of Vektor, Coroner & Watchtower.

4/5

Underworld - "Dubnobasswithmyheadman" (1994)

Underworld make the incredible transition from a radio-friendly new wave/synth pop outfit into one of the most influential progressive house/techno artists of all time. An incredibly important release for dance music in general which never gets old..

What a ripper of an opener from Canadian industrial metallers Strapping Young Lad. For fans of Fear Factory, Ministry & Nailbomb.

Some interesting comments here. I came into "Alien" fresh as the only Strapping Young Lad release I'd experienced previously was "City" (which I really enjoyed) but over the last couple of days I've found that I marginally prefer "Alien" & was blown away by just how heavy this record is. It takes no prisoners whatsoever & very few fucks are given along the way. I can understand how it might seem like one huge barrage of aggressive to some listeners but I feel that I'm well equipped to handle that sort of thing due to my extreme metal background. I definitely noticed a Napalm Death influence to many of the more intense riffs which isn't surprising given that Devin's been a long-time fan of the band going way back to his contribution to Steve Vai's "Sex & Religion" album in 1993. The timing makes sense because I was continually reminded of 1992's "Utopia Banished" album.

Devin puts sssoooo much into his vocal performance here. I really enjoy the crazed lunatic vibe on some of this material (see "Shitstorm" for example) & feel it's when he's at his best. His more melodic moments are also high quality though with the chorus of "Love?" actually reminding me a lot of Deftones. Gene Hoglan is an absolute enigma & proves that his feet should be insured for a very hefty sum as he's more machine than human. What a performance! And the production job couldn't have been better suited to the product to be honest. Every track sounds enormously epic here with the listener being virtually assaulted with sound which I would imagine was exactly the outcome that Devin was hoping for. The subtle use of keyboards at key moments is used to great effect & fills out the sound beautifully. 

The lone ballad "Two Weeks" is clearly the least effective song on the tracklisting even though I still have time for it's sweeter take on an 80's Pink Floyd vibe as the listener is definitely in need of a short break by that stage. Closing twelve minute industrial noise piece "Info Dump" was certainly a challenge at first though with my initial thoughts being "Oh no, he's decided to give us the impression that the album is longer than it actually is by filling in time with pointless noise" but I'm very pleased to say that it develops over time & ends up leaving the listener with a unique & disturbing atmosphere that I really enjoy. But it's the heavier tracks that really float my boat, particularly when they're matched with some of Devin's more intense screams. Brief opener "Imperial" is nothing short of devastating with the gradual buildup & crescendo of "Thalamus" being a close second. The triple play of "Shitstorm" through to "Shine" is also spectacular! 

Despite the fact that most of the highlights reside on the A side for me, I find "Alien" to be a very consistent release overall. In truth, some of Devin's more progressive & melodic moments take me a touch outside of my comfort zone & this (along with the first five minutes of "Info Dump") prevent me from going with a slightly higher rating but the quality here is undeniable. It's an outstanding effort from a highly capable & significantly battle-hardened group of musicians. Whoever selected this album for feature release inclusion really knows his shit & should be heaped with praise for eternity.

For fans of Fear Factory, Ministry & Nailbomb.

4/5

Classic mid-80's thrash metal from New Jersey, USA. For fans of Exodus, Anthrax & Testament.

Overkill - "Taking Over" (1987)

The 1987 sophomore album from New Jersey thrash metal establishment Overkill represents my entry point for the band way back around 1989 when I was in my early teenage years & completely obsessed with extreme metal (kinda similar to now really). I have to admit that, whilst I've always found it to be relatively enjoyable, it's never really convinced me that the band were a tier one act & my feelings haven't changed in that respect. "Taking Over" certainly featured some improvements on their 1985 debut album "Feel The Fire" with more appealing production, performances & song-writing but some of the riffs & arrangements still seem so basic & generic that it sounded a little dated even back then in my opinion. It's not a total thrash-fest either as almost half of the album falls into speed metal or traditional heavy metal territory.

I think the reason that "Taking Over" has remained so popular over the years is due to the tight execution & its uncluttered accessibility. It's like the band understood their limitations a bit better than they did previously & worked within them to create an appealing & marketable product. The other reason is likely the melodic vocal approach of front man Bobby Blitz who hadn't opted for the grindier approach he'd take on later material just yet & contributes some much needed pizzazz to some otherwise fairly uneventful pieces of music. There's definitely a little bit of Iron Maiden's Bruce Dickinson about his performance here & if you listen closely you can hear that he was giving everything he had as far as charisma & effort go. It's certainly paid off as there's only really "Fatal If Swallowed" that fails to leave the desired impact as far as hooks go. In saying that, Bobby's performance still wasn't enough to make any of this material a genuine thrash classic in my opinion so I don't think I can justify the high regard that "Taking Over" is generally held in amongst thrash purists.

3.5/5

This really looks like a piss-take, doesn't it?

I just tried it & it works great & is very useful to me personally. I do need to mention the fact that you can select all of the check-boxes simultaneously though which isn't a big deal but probably isn't ideal.

Andi, I've recently changed my direction with the selection criteria for our feature releases. I'm now focusing much more on picking releases that the clan members may not be familiar with but would likely enjoy so I'd encourage you to check out the ones that are associated with your four clans moving forwards.

Gaza - "I Don't Care Where I Go When I Die" (2006)

I'm keen to get your thoughts on our November feature album Andi.

Supreme mathcore from Salt Lake City, USA. For fans of Converge, Botch & The Dillinger Escape Plan.

Unlike saxy, I have to admit that Gaza are right up my alley. I guess I just get it. I first heard their 2012 album "No Absolutes in Human Suffering" at the time of release & it totally blew me away. Strangely, I hadn't explored their earlier releases until just now but I'm very glad I did because the band came out of the blocks at the top of their game in my opinion. "I Don't Care Where I Go When I Die" is a swarming beast of violence & complexity &, despite it's undeniably haphazard & jerky format, it never seems to falter in its consistency. The vicious performance of front man Jon Parkin is absolutely savage & a genuine highlight for me. When he really gets going he achieves some of the more searing & brutal moments the mathcore subgenre has to offer.

Instrumentally, this is an enormously interesting release too. Not all of the material hits directly on my sweet spot but I can't help but maintain my intrigue nonetheless. The more expansive works are where you'll inevitably find the true highlights with tracks like "Hospital Fat Bags" & "Pork Finder" representing major peaks for metalcore overall. The sludge metal component cannot be overstated & it's during the sludgier moments that Gaza are at their very best with some truly crushing riffs on offer. The only negative comment I have is that the production is noticeably lacking in brightness which sees the material losing a little bit of its edge. The fact that I've still rated it as highly as I have is a statement on just how strong an example of extreme music this album is.

4.5/5

Rip-snorting Californian thrash metal from earlier this year.

I have to admit that I quite enjoyed "Weapons Of Tomorrow". It sees the band trying quite hard to keep enough variety in play so as not to sound completely generic & this results in a good mix of brutality & melody. There's a whole tonne of influences going on here. From the classic thrash end of the spectrum there's definitely a fair amount of Exodus worship going on & the slower, darker passages seem to draw influence from "Seasons In The Abyss"-era Slayer at times but there's also a consistent melodeath feel going on that reminds me of At The Gates or even Kreator's last couple of albums which often gave a passing glance to the Swedes in a similar way. Warbringer also have a shot at fully-fledged black metal & your classic old-school Swedish death metal sound at various points across the tracklisting so it's clear that they have a rounded taste in extreme metal. Just check out the clear ode to Bathory at the four & a half minute mark in "Heart of Darkness" for example.

As Vinny mentioned, John Kevill's nasty vocal delivery is definitely similar to Demolition Hammer's Steve Reynolds (& At The Gates' Tomas Lindberg to an extent) which can't be a bad thing & he gives it absolutely everything he's got at all times. The lead guitar work is sensational & is a real highlight of the album in my opinion. The production is excellent & compliments the natural energy of the song-writing. I can't say I agree with saxy's statement about the bass guitar being hard to pick up. I can hear it pretty comfortably throughout so maybe it's to do with our listening devices of choice. There are a couple of tracks that don't do much for me though (see chuggy thrasher "The Black Hand Reaches Out" & the epic power metal influenced "Glorious End") & these lapses generally line up with the moments that drummer Carlos Cruz goes for bouncier & more accessible beats over mid-paced chuggy riffs. I'd much prefer to be flayed by light-speed tremolo riffage & a machine gun of double kick personally (see album highlight "Unraveling" for example) but this is not really a flaw but a matter of personal taste.

Overall I find "Weapons Of Tomorrow" to be an enjoyable if inessential thrash metal release that eclipses most of the other new school thrash exponents out there pretty comfortably through pure class. It's beautifully executed & hints at some real potential but doesn't quite deliver as consistently as our 80's faves.

3.5/5

I have to ask guys, what are your feelings on DSBM as a unique subgenre of black metal? I have to say that I struggle with the concept of differentiating most of the DSBM releases I've heard from traditional black metal as the differences are mostly thematic rather than musical. Sure there are some musical differences with certain strains of DSBM but those differences don't seem to have become unique characteristics of the entire subgenre so I treat them as a fresh takes on black metal rather than a new subgenre & this Shining release is a prime example of that. Perhaps it's just that over time the DSBM tag has been afforded to releases that never really claimed to conform with the characteristics that led to the tag being penned to begin with so the subgenre has become less defined as a result?

I also find that the whole concept of basing your lyrics & image around depression & suicide is very much against the core of what made black metal so appealing for me in the first place. Black metal has always been about empowerment & I-don't-give-a-fuck attitude in my opinion. It's simultaneously a celebration of its own self-imposed isolation from society's chosen path & a call to arms to like-minded individuals around the globe. I struggle with the self-pity that DSBM seems to use as its thematic platform as it's just so far removed from those ideals & I more often than not find that the instrumentation doesn't really work to create all that depressed an atmosphere anyway. I want to be uplifted by my black metal via raw brutality & a cold atmosphere that takes me to dangerous & desolate places from the comfort of my car or lounge. I don't want to be encouraged to take my own life because I can't bring myself to get out of bed. It's the opposite extreme as far as I can see.

OK, that's my two cents. What are your thoughts?

New York thrash metal at its finest.

Anthrax - "Among The Living" (1987)

The third full-length from New York thrash metal institution Anthrax was an absolutely HUUUGGGE record in my childhood. I got into the band through their underrated 1988 record "State Of Euphoria" in late '88/early '89 before meeting a new mate that had an older cousin that was obsessed with the band. I proceeded to investigate their entire back catalogue very quickly & was floored by both "Among The Living", its predecessor "Spreading The Disease" & the horribly overlooked "Armed & Dangerous" E.P. in particular. In truth "Spreading The Disease" will likely always remain my favourite Anthrax release however "Among The Living" is awfully close behind. It saw the band utilizing a heavier dose of hardcore punk & it resulted in an infectious energy that permeates every part of an exceptionally consistent tracklisting. The use of gang vocals is possibly the best example you'll find in all of metal &, even though this in not something that I usually go for, I can't help but admit that I shout along with every word as a united front with the band members here. Although there are tight-as-hell thrash riffs for days through the undeniable Scott Ian, Joey Belladonna & Charlie Benante are the key components on "Among the Living" as Joey manages to gives every track the sort of hooks that leave an indelible mark on your brain for life & Charlie's confident & powerful performance behind the kit is what drives this music to heights that similar US thrash outfits simply weren't capable of at the time. Interestingly (& quite tellingly), my favourite tracks aren't the big name classics like "Caught In A Mosh" & "Indians". It's the more thrashy & violent numbers like "A Skeleton In The Closet" & "Imitation Of Life" that float my boat with the most buoyancy & that's the strength of this album really as literally every track is essential listening for all fans of 80's thrash.

4.5/5

Fantastic review there Vinny. One of your best.

Shining - "V - Halmstad (Niklas Angående Niklas)" (2007)

It may not be your usual bag Xephyr but I'd be interested to hear what you have to say about this one.

Ambitious & well-produced depressive black metal from Sweden. For fans of Silencer, Forgotten Tomb & Bethlehem.

Glad you liked it Sonny. I hadn't listened to it for more than a decade but quickly remembered why I found it to be such an interesting listen. It really asks questions of your average depressive black metal fan as it goes against the grain in many ways. Firstly, the production is crystal clear which is directly opposed to the lo-fi approach that most of Shining's peers take when attempting to create atmosphere & I think it works beautifully here. Perhaps it's due to the fact that it highlights the exceptional level of musicianship for a black metal outfit & a much more diverse & progressive musical palate. In fact, I'd go so far as to say that it's debatable as to whether "V - Halmstad" is even black metal in the traditional sense of the term. Despite the fact that Shining utilize traditional black metal tools fairly consistently throughout the album, the production, musicianship, experimentation in style & unusual vocal techniques never allow them to sound like a black metal band in the purest sense.  (I feel similarly about Primordial's classic releases actually.) Post-black metal is perhaps a more accurate tag for "V - Halmstad" than anything else but it still doesn't fit all that comfortably.

Regardless of what most reviews say, I actually don't find "V - Halmstad" to sound all that depressive in a musical sense either. I think people are mainly led down that path by the samples, cover art & lyrics (which are in Swedish) as well as the insane & overthetop vocal delivery & stage antics of Kvarforth but it's also possible that I simply can't relate to these sort of feelings & therefore aren't able to connect with the music in the same way. Kvarforth's vocals are a bit of a struggle for me at times to be honest. At his best his blood-curdling howls & croaks remind me of Mayhem/Aborym/Tormentor/Sunn O))) front man Attila Csihar but at his worst he sounds pretty similar to Zed from the Police Academy movies. Some of the suicidal & depressive movie samples are very effective but I do think they go too far with pushing these themes at times as there are one or two sections that are simply too miserable to make for enjoyable listening, instead making the listener feel significantly uneasy. The first two tracks are spectacular & I always feel like I'm heading towards a very high scoring result early on but, even though there are no weak tracks on offer, the middle of the album sees a decline in overall impact before taking an upwards turn & finishing with a couple of very solid & effective pieces.

Overall, this is a high quality & ambitious piece of work that should appeal to fans of Silencer, Forgotten Tomb & Bethlehem.

4/5

The chart has been improved in two ways...

1. There's now an Exclude Releases I've Rated checkbox, so you can now see the top albums for any clan that you haven't yet rated.

That won't help Revolution666 much. He'll just see a blank page!

Mid-80's Bay Area thrash for fans of Testament, Metallica & Exodus.

Death Angel - "The Ultra-Violence" (1987)

Can someone please fill me in on what is supposedly so special about the debut album from this family-owned Bay Area thrash outfit? I first encountered it three decades ago now & are still no closer to understanding the reason for the high regard it seems to be held in by almost every thrasher out there (with the possible exception of Ben who has always agreed with me). Don't get me wrong. It's a more than handy thrash record & was quite the achievement for such a young group of dudes but it doesn't really come close to competing with the big boys of the genre in my opinion. The triple play of "Kill As One", the title track & "Mistress Of Pain" is really great but it's book-ended by some material that doesn't exactly stand out from the crowd with a couple of tracks not really cutting the mustard for me personally (see the awful vocal performance on "Voracious Souls" or the light-weight & generic riffage of "Final Death"). I don't think Death Angel have ever released anything I'd regard as being close to a classic but their best work was yet to come in my opinion. A lot of that has to do with the dodgy vocal performance here as front man Mark Osegueda hadn't learned to sing in key just yet. A decent if overrated release for fans of Testament, Metallica & Exodus.

3.5/5

So, Daniel, when you say the quota for death doom is full, do you mean gothic death doom or old-school death doom? Another annoying sub-genre is traditional doom metal, a genre that has become so misused on RYM I now ignore it and actively vote against it whenever possible.

I meant doom death metal as a whole Sonny. I haven't had a chance to listen to your inclusion from The Drowning yet so I'm not sure what side of the fence it falls on. Presumably the old school one knowing your taste.

I can understand your opinion with the traditional doom metal tag. I share it to an extent. In fact, Ben & I have never really seen the need for the tag in the first place. It's either doom metal or it's not as far as I'm concerned.

You're in luck Ben. I've managed to fit them all in.

For everyone else, the November quota for these subgenres is already full:

Southern metal

Traditional doom metal

Drone metal

Funeral doom metal

Death doom metal

Gothic metal

There's still availability in these areas though:

Atmospheric sludge metal

Doom metal

Sludge metal

Stoner metal

While I take your point, I'm sorry Daniel but I must disagree on one thing and that is that death doom is inherently gothic. Sure, a certain style of death doom is such, the My Dying Bride / Paradise Lost branch, but what about bands like Winter, Autopsy, Cianide, Ceremonium, Asphyx, Atavisma, Void Rot and the likes who have no gothic leanings whatsoever, but a much stronger death metal influence and a filthy, cavernous sound? In fact I sometimes wonder how some of these gothic death doom albums get tagged as death doom at all, having virtually no death metal DNA in them. Maybe these are actually gothic metal releases rather than death doom. Like I say, I am no expert as I find the whole gothic metal style tedious, so I am not advocating one way or another, but I do know what I hear and what I don't!

Yeah that's a valid point. I should have included the prefix of "A lot of".

Andi, this month's The Infinite feature release should be right up your alley.

An epic melodeath-driven German progressive metal outing.

I disagree actually Sonny. I'm not much of a fan of gothic metal myself but I can certainly discern a signature gothic metal sound that's more prominent than the other components in many releases that fall under that label. Sure there are those releases that are hybrids of several subgenres but that's no different to blackened death metal, blackened thrash, deathgrind, progressive thrash, etc. & it doesn't mean that the original component is not worth highlighting. I think the main reason for the confusion around what constitutes a gothic metal release is once more the inaccuracies of the tagging on sites like RYM which allow for people that aren't well versed in that style of music to have a significant impact on its genre tagging results. Death doom metal is inherently gothic. Labelling it as gothic metal is irrelevant in my opinion. The same can be said for a lot of black metal. If the strongest component is death metal or black metal then gothic metal should only ever be a secondary subgenre. Here at Metal Academy we have the opportunity to get that right through the Hall of Judgement. If you don't think that a release should fall into a certain clan then it's likely that others will agree & we encourage you to make a Hall submission.

My review has just gone up:

https://metal.academy/reviews/19264/3818

I've really enjoyed returning to this one more than a decade later. It's a very solid debut indeed in my opinion & I've gone with 4/5 rating.

I think Xephyr's point is made by the low rating numbers on all but two of those new releases Andi.

Despite the low numbers, I actually think The Sphere is an appropriately configured clan. My experience with programming the various clan-specific playlists every month has given me a great insight into whether the entire subgenre sets are aligned & I think they are with The Sphere. In fact, before I kicked the playlists off I didn't actually think there was any valid reason for the existence of the Neue Deutsche Härte subgenre but I've since revised that view as I've found strong evidence that the releases tagged with that label possess unique attributes outside of the more generic industrial metal label.

The number of members shouldn't be the guiding reason for amalgamating clans & I don't hear much correlation between alternative metal & industrial metal from a musical sense to be honest. Splitting the industrial metal acts down the middle doesn't seem right either. I have no problem with the two different strands of industrial metal residing under the same label. They're clearly both still industrial metal in my opinion.

Sonny, I'm interested to hear your thoughts on where you think gothic metal should reside if not in The Fallen? I agree that it doesn't sit entirely comfortably there but I struggle to think of another clan that's more appropriate. It probably should be in the same one as symphonic metal though in my opinion. I actually don't see any reason why we should leave Cradle Of Filth releases in The Fallen. If we think they don't belong there (which I don't) then let's simply vote them out in the Hall of Judgement.

This one's very solid indeed & is regarded as one of most popular inclusions on Sepultura's 1987 album "Schizophrenia".

I notice you haven't rated this one Sonny. It's a fucking strong release that more than holds its own with the big boys at the more extreme end of thrash.

Fast & precise Brazilian thrash metal from the mi-80's for fans of Slayer, Kreator & Sodom.

Here's my initial attempt:

01. Coroner – “Mental Vortex” (1991)

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

03. Coroner – “No More Color” (1989)

04. Vektor – “Black Future” (2009)

05. Coroner – “R.I.P.” (1987)

06. Coroner – “Punishment For Decadence” CD version (1988)

07. Vektor – “Terminal Redux” (2016)

08. Revocation – “Teratogenesis” E.P. (2012)

09. Watchtower – “Energetic Disassembly” (1985)

10. Mekong Delta – “Mekong Delta” (1987)

P.S. I wouldn't hold your breath for a fifth clan option Andi.