Exodus - 2004 - Tempo Of The Damned

Given up for dead over a decade earlier, the mighty Exodus -- the original kings of thrash metal -- made an unexpected but long-rumored return in 2004 with the release of their sixth studio album, Tempo of the Damned. But what had been intended as a long-awaited reunion of their seminal Bonded by Blood lineup was tragically thwarted with the sudden death of vocalist Paul Baloff in early 2002. Fittingly, Baloff was duly supplanted by none other than Steve "Zetro" Souza, the man who'd replaced him in the first place and who had gone on to sing on every Exodus album thereafter, including their mid-period thrash classic Fabulous Disaster. Of course the fact that Souza was clearly the better and more reliable vocalist (albeit not as fun a character as Baloff) should not be overlooked, and with the welcome involvement of long-gone founding drummer Tom Hunting, Tempo of the Damned still serves as quite the family reunion. It also doesn't disappoint musically, picking up the pieces right where the band's star-crossed career had fallen apart 11 years earlier with the underrated Force of Habit, and turning in a performance that is, at once, vintage Exodus and mindful of modern recording standards as well. All of the old, much loved Exodus hallmarks are here: lyrics filled with biting, sarcastic social commentary; no-fuss, jagged thrash metal; and unparalleled technical precision.

As has always been the case, it's the dazzling six-string tag team of Rick Hunolt and Gary Holt (quite simply the tightest rhythm guitar duo in the history of thrash -- Slayer included) that truly drives the Exodus bullet train over lightning runs like "Scar Spangled Banner" and the wonderfully retro-named "Impaler." Their solos are as musical as the riffing is not, and, as heard on excellent examples like "Shroud of Urine" and "Forward March," always typified by inventiveness without excess pyrotechnics. About the only deviation from the band's tried and true formula of old comes in the shape of Souza's more varied vocal styles, including a less whiny, wholly uncharacteristic full-throated death roar for the standout "War Is My Shepherd." Tempo of the Damned's second half isn't quite as memorable, the likes of "Sealed with a Fist" and "Throwing Down" suffering from the same sort of aimless riffage that had mired disappointing earlier efforts like Pleasures of the Flesh and Impact Is Imminent, but "Culling the Herd" manages to buck this trend with plenty of fireworks, and the title track still moshes with a vengeance. Taken as a whole, Tempo of the Damned successfully resurrects Exodus as the potent and formidable thrash machine of old. The fact that they are well aware of their strengths, and content to stick with them to the end, is what makes this such a welcome release for the band's loyal followers, as well as younger fans looking to understand what got heavy metal where it is today.

1 Scar Spangled Banner Holt, Public Domain 6:41
2 War Is My Shepherd Holt, Souza 4:27
3 Blacklist Holt 6:16
4 Shroud of Urine Holt 4:51
5 Forward March Holt, Souza 7:38
6 Culling the Herd Holt 6:07
7 Sealed With a Fist Holt 3:35
8 Throwing Down Holt, Miller 5:01
9 Impaler Baloff, Hammett, Holt, Hunting 5:24
10 Tempo of the Damned Holt 4:21

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Coroner - 1985 - Death Cult EP

From their modest beginnings as roadies for avant-garde Swiss metal legends Celtic Frost, the members of Coroner carved out one of the most unique careers in the European thrash metal scene. The trio was originally pegged as a conventional thrash band, but their jaw-dropping musicianship and increasingly complex, almost prog rock compositions soon won over most critics, some of which labeled them the Rush of thrash metal. Over the course of eight years and six albums, the band fought constantly to expand the limiting boundaries of thrash, yet achieved only limited commercial success for their efforts. Still, their fearless experiments have allowed their albums to endure and stand the test of time better than many of their more celebrated peers.

Guitarist Tommy T. Baron (real name Thomas Vetterli) and drummer Marquis Marky (aka Marky Edelmann) put in various tours of duty as roadies for the seminal Celtic Frost before founding Coroner with bassist/vocalist Ron Royce in 1985. In fact, Frost main man Tom Warrior sang on their Death Cult demo. Subsequently signing to the German Noise label, the band debuted with 1987's R.I.P., then quickly followed it with 1988's Punishment for Decadence, which featured a surprising cover of Hendrix's "Purple Haze." With 1989's transitional No More Colour, Coroner truly inaugurated their golden era and raised their standards on every front: from the stylized album artwork to the slower, tighter rhythms and riffs which revealed their incredible technical proficiency to the experiments which began breaking away from the limitations of thrash metal, both musically and lyrically.

This ambitious vision came to full fruition with 1991's amazing Mental Vortex, which included a daring reconstructed cover version of the Beatle's "I Want You (She's So Heavy)." Recorded by top thrash producer Tom Morris, many expected the album to push Coroner's career to the next level and introduce them to a wider audience. But whether due to changing musical climates (alternative rock had just arrived) or simply being too ahead of its time, things just didn't play out that way. Disappointed though they were, the band regrouped and came up with an even more daring, unconventional album in 1993's Grin, which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while others consider it the band's greatest triumph. Coroner were apparently unsure themselves and succumbed to mounting inner tensions a short while later to go their separate ways.

Noise Records wasn't quite ready to let the band die, however, forcing guitarist Baron to compile 1995's Coroner (a collection of outtakes, new tracks, and classic cuts) nearly a year after the group's demise, which required the help of drummer Peter Haas stepping in for the uncooperative Edelmann. After this release, Vetterli temporarily fronted his own band, Clockwork, before joining German thrashers Kreator for one album. Edelmann assumed drum duties with his former mentor Tom Warrior's new band Apollyon Sun.


1. Spectators Of Sin 06:42
2. Spiral Dream 04:43
3. Aerial Combat 06:15
4. The Invincible 07:00

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Mercyful Fate - 1993 - In The Shadows

After an almost decade-long hiatus, Mercyful Fate's reunion did not disappoint; it was as if they picked up right where they had left off. There are more of King Diamond's gothic tales of horror and the supernatural, and the music sounds better than ever. It doesn't have the historical significance of their early-'80s material, but that doesn't really matter; this is high-quality material from a tight veteran band. The CD features a re-recorded version of the underground classic "Return of the Vampire" with Lars Ulrich on drums.

		1		Egypt	King Diamond	4:52
		2		The Bell Witch	King Diamond, Shermann	4:34
		3		The Old Oak	King Diamond, Shermann	8:54
		4		Shadows	King Diamond	4:42
		5		A Gruesome Time	Denner, King Diamond	4:31
		6		Thirteen Invitations	King Diamond	5:17
		7		Room of Golden Air [instrumental]	Denner	3:06
		8		Legend of the Headless Rider	King Diamond, Shermann	7:43
		9		Is That You, Melissa	King Diamond	4:41
		10		Return of the Vampire...1993 [*]	King Diamond, Shermann	5:08

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Your Blood My Tears - Your Blood My Tears EP

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Xentrix

Although they surely qualify as one of England's most successful thrash metal bands, Lancashire's hapless Xentrix ultimately came to epitomize all of Great Britain's relatively insignificant contributions to speed metal -- as compared to the genre's utterly dominating American bands. Formed in 1986 (as Sweet Vengeance, in the town of Preston) by vocalist/guitarist Chris Astley, guitarist Kristian Havard, bassist Paul MacKenzie, and drummer Dennis Gasser, Xentrix started life, not surprisingly, as a Metallica cover band, gradually drawing attention to themselves on the U.K. pub circuit and with their 1988 demo, Hunger For.... Fledgling Roadrunner Records soon took notice and signed the band, releasing their debut album, Shattered Existence, in 1989, and, later that year, the now infamous Ghost Buster EP. Led off by a thrash-intensive, too-clever-for-its-own-good rendition of -- you guessed it -- the Ray Parker Jr. movie theme, the EP hurled a fairly naïve Xentrix into a world of pain -- cease-and-desist litigation-style -- until the objectionable and unsanctioned record was recalled from many shops.

Still undeterred but perhaps a bit wiser, Xentrix got back to work with a series of increasingly repetitive, uninspired thrash albums, including 1990's For Whose Advantage?, 1991's Dilute to Taste, and 1992's Kin and The Order of Chaos EP. Inevitably, public indifference and diminishing returns soon led to internal strife, and when they were dropped by Roadrunner in 1993, the band finally crashed to a halt. Astley was singled out for sacrifice and a tentative rebirth was eventually attempted via 1996's Scourge (featuring new vocalist Simon Gordon and second guitarist Andy Rudd), but this only proved that Xentrix's already modest creative reserves were well and truly spent, signaling their unequivocal end.

1989 - Shattered Existence

Xentrix - 1989 - Shattered Existence

Perhaps best known for their thrash metal interpretation of Ray Parker, Jr.'s "Ghostbusters," Xentrix often found itself compared to Anthrax more than anyone. It isn't a bad comparison -- like Anthrax, Xentrix doesn't shy away from heavy subject matter, but also knows how to have fun. However, this isn't to say that Xentrix actually emulated Anthrax or anyone -- as Shattered Existence reminds us, Xentrix wasn't without a sound of its own. "Balance of Power," "Reasons for Destruction," "Dark Enemy" and other songs on this invigorating CD demonstrate that while Xentrix could be bone-crushing, the thrashers weren't nearly as extreme as some of the other bands on Roadrunner (such as Obituary and Deicide). Headbangers who can get into Metallica, Anthrax and Megadeth but may not care for grindcore will also find Xentrix accessible, as well as exciting.

		1		No Compromise	Astley, Gasser, Havard ...	3:06
Composed by: Astley, Gasser, Havard, MacKenzie
		2		Balance of Power	Astley, Gasser, Havard ...	5:17
Composed by: Astley, Gasser, Havard, MacKenzie
		3		Crimes	Astley, Gasser, Havard ...	5:41
Composed by: Astley, Gasser, Havard, MacKenzie
		4		Back in the Real World	Astley, Gasser, Havard ...	4:01
Composed by: Astley, Gasser, Havard, MacKenzie
		5		Dark Enemy	Astley, Gasser, Havard ...	4:14
Composed by: Astley, Gasser, Havard, MacKenzie
		6		Bad Blood	Astley, Gasser, Havard ...	5:08
Composed by: Astley, Gasser, Havard, MacKenzie
		7		Reasons for Destruction	Astley, Gasser, Havard ...	5:34
Composed by: Astley, Gasser, Havard, MacKenzie
		8		Position of Security	Astley, Gasser, Havard ...	5:08
Composed by: Astley, Gasser, Havard, MacKenzie
		9		Heaven Cent	Astley, Gasser, Havard ...	5:11

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Napalm Death

The fathers of grindcore, Napalm Death pushed the envelope of metal to new extremes of ear-splitting intensity, rejecting all notions of melody, subtlety, and good taste to forge a brand of sonic assault almost frightening in its merciless brutality. Formed in Ipswich, England, in 1982, the group trafficked in the usual heavy metal fare for the first few years of its existence, but by the middle of the decade they began to expand their horizons by incorporating elements of hardcore and thrash into the mix; ultimately, Napalm Death's sonic experiments evolved into a blistering mutation of metal which they dubbed grindcore, a kind of extremist noise attack characterized by incredibly brief song lengths, demonic vocals, and eye-opening sociopolitical lyrical commentary.

Building their reputation on a series of incendiary radio sessions and live dates, Napalm Death set about recording their debut LP, Scum, issued in 1987 on their own Earache label. A series of lineup changes during production resulted in the record's two sides each containing almost completely different rosters: while the first half featured guitarist Justin Broadrick and vocalist/bassist Nick Bullen, the flip side presented new vocalist Lee Dorrian, guitarist Bill Steer, and bassist Jim Whitely; only drummer Mick Harris played on every track. While largely ignored by the mainstream media, Scum proved hugely influential throughout the global metal community; among Napalm Death's most public supporters was BBC Radio One DJ John Peel, who repeatedly played the track "You Suffer" before inviting the group to record a legendary September 1987 Peel Session introducing new bassist Shane Embury.

With 1988's From Enslavement to Obliteration, the band grew even more extreme, issuing some 54 total tracks, many of them clocking in at just a few seconds in length. (The compilation Grind Crusher offered perhaps the ultimate distillation of the aesthetic by including a bonus split single from Napalm Death and the Electro Hippies with each side lasting just one second; the shortest single ever.) More roster shifts followed, as Dorrian exited to form Cathedral and Steer jumped ship to found Carcass; with vocalist Mark "Barney" Greenway (formerly of Benediction) and guitarists Jesse Pintado (ex-Terrorizer) and Mitch Harris (ex-Righteous Pigs), Napalm Death resurfaced with 1990's Harmony Corruption, a nod toward more conventional song structures and a less punishing sound. Apparently unhappy with the results, the group followed later that year with the Mass-Appeal Madness EP, a return to all-out grindcore fury.

Mick Harris, the only remaining member from the unit's earliest lineups, exited Napalm Death in 1992 to mount an acclaimed ambient dub project named Scorn; he was replaced by drummer Danny Herrera for Utopia Banished, followed by a single covering the Dead Kennedys' "Nazi Punks Fuck Off." With 1994's Fear, Emptiness, Despair, Napalm Death earned some of the best critical notices of their career, and to the shock of many even found themselves in the Top Ten of the U.S. pop albums chart by virtue of their appearance on the soundtrack to the motion picture Mortal Kombat. The Greed Killing mini-album appeared in 1995 as a teaser for the following year's relatively accessible full-length Diatribes. Greenway was subsequently fired in November 1996 and replaced by Phil Vane of Extreme Noise Terror; however, after recording a split EP with Coalesce, the band reconsidered, and Greenway re-joined in time for the 1997 album Inside the Torn Apart. Next was 1998's live release Bootlegged in Japan, trailed early the next year by the well-received Words From the Exit Wound, which proved to be their final album for Earache. 2000 saw the release of the covers EP Leaders Not Followers in mid-summer. Napalm Death returned to its early grindcore roots to a degree with its next full-length, Enemy of the Music Business, which was issued in early 2001.

1991 - The Peel Sessions

Napalm Death - 1991 - The Peel Sessions

In a way, Napalm Death's Peel Sessions better represent the group's extreme classic sound than any of their '80s albums. Albums such as Scum and From Enslavement to Obliteration still stand as testaments to the group's innovative approach to prototypical grindcore, but as historically important as these albums are, they're awfully lo-fi. The pristine clarity and live aggression of the group's sessions on John Peel's influential BBC radio show make for a better sample of exactly how amazing this storied group was during its fabled era with vocalist Lee Dorrian, guitarist Bill Steer, drummer Mick Harris, and drummer Shane Embury. The first session, recorded on September 13, 1987, features the group blasting through 12 songs in under six minutes. The CD features the songs in blocks of three with a brief pause between each song. Even with the blurry grinding sound of the group's instruments, you can actually make out the individual sounds: the repetitive yet powerful guitar riffs through the maelstrom of percussion, the enveloping bass tones through the detuned guitar riffs, and the juxtaposing growls and screams of the group members. The second session, recorded on March 8, 1988, finds the group moving through yet more of its early canon, including some of its more noteworthy compositions such as "The Walls" and a trio of Japanese hardcore cover songs. The third session featured on this CD, from August 12, 1990, features the band's shuffled '90s lineup playing many of the group's best-known classics such as "Unchallenged Hate" and "Social Sterility" while also moving through some of the early-'90s material such as "Suffer the Children." Overall, Napalm Death's Peel Sessions serve as an excellent overview of the continually evolving grindcore band and surpasses the group's '80s albums in terms of sound quality, if not historical significance. Note, though, that this album has been repackaged as The Complete Radio One Sessions and features a later session from 1996, making that a more comprehensive choice.

		1		The Kill/Prison Without Walls/Dead, Pt. 1	Broadrick, Bullen ...	:55
Composed by: Broadrick, Bullen, Napalm Death
		2		Deceiver/Lucid Fairytale/In Extremis	Dorian, Embury, Harris ...	1:45
Composed by: Dorian, Embury, Harris, Napalm Death, Steer
		3		Blind to the Truth/Negative Approach/Common Enemy	Dorian, Embury, Harris ...	1:05
Composed by: Dorian, Embury, Harris, Napalm Death, Steer
		4		Obstinate Direction/Life/You Suffer, Pt. 2	Dickinson, Embury, Harris ...	1:55
Composed by: Dickinson, Embury, Harris, Napalm Death, Steer
		5		Multi-National Corporations/Instinct of Survival/Stigmatised/Parasites	Dorian, Embury, Harris ...	4:10
Composed by: Dorian, Embury, Harris, Napalm Death, Steer
		6		Moral Crusade/Worlds Apart/M.A.D.	Dorian, Embury, Harris ...	3:35
Composed by: Dorian, Embury, Harris, Napalm Death, Steer
		7		Divine Death/C.S./Control	Napalm Death	3:20
		8		Walls/Raging in Hell/Conform or Die/S.O.B.	Daiske, Siege, Toshimi ...	3:15
Composed by: Daiske, Siege, Toshimi, Tottsuan, Yasue
		9		Unchallenged Hate/Murdered Mentally	Dorian, Embury, Harris, Steer	3:55
		10		From Enslavement to Obliteration/Suffer the Children	Dorian, Embury, Harris, Steer	5:40
		11		Retreat to Nowhere/Scum	Dorian, Embury, Harris ...	2:50
Composed by: Dorian, Embury, Harris, Napalm Death, Steer
		12		Deceiver/Social Sterility	Dorian, Embury, Harris ...	1:35

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Megadeth

After he left Metallica in 1983, guitarist/vocalist Dave Mustaine formed the thrash metal quartet Megadeth. Though Megadeth followed the basic blueprint of Metallica's relentless attack, Mustaine's group distinguished themselves from his earlier band by lessening the progressive rock influences, adding an emphasis on instrumental skills, speeding the tempo up slightly, and making the instrumental attack harsher. By streamlining the classic thrash metal approach and making the music more threatening, as well as making the lyrics more nihilistic, Megadeth became one of the leading bands of the genre during the mid-'80s and late '80s. Each album they released went at least gold, and they continually sold out arenas across America, in addition to developing a strong following overseas. By the early '90s, they had toned their music down slightly, yet that simply increased their following; all of their proper '90s albums debuted in the Top Ten.

Throughout Megadeth's many lineup changes, the two core members were bassist Dave Ellefson and guitarist/vocalist Dave Mustaine (born September 13, 1961), who was the band's official leader. Mustaine grew up in the suburbs of Southern California, where he was raised by his mother in a broken home; frequently, his mother left him to be raised by aunts and uncles, who never encouraged his musical inclinations and often belittled him for his fondness for heavy metal. In 1981, he formed Metallica with James Hetfield and Lars Ulrich. Mustaine spent two years with Metallica, developing a strong cult following in California's underground metal scene, before he was kicked out of the group in 1983, allegedly over his substance abuse. Immediately following his firing, he formed Megadeth with Ellefson, Slayer guitarist Kerry King, and drummer Lee Rauch. This lineup was extremely short-lived, and Mustaine and Ellefson soon recruited guitarist Chris Poland and drummer Gar Samuelson.

For the next few years, Megadeth toured and gained a following, signing with the independent label Combat in late 1984. The following year, the group released their debut, Killing Is My Business...And Business Is Good!, which received strong reviews, not only in metal-oriented publications, but also in mainstream music magazines. The album sold very well for an independent release, which attracted the attention of major record labels. By the end of the year, the group had signed with Capitol. Megadeth's first major-label album, Peace Sells...But Who's Buying?, was released in the fall of 1986. Like its predecessor, Peace Sells was greeted by strong reviews and sales; it eventually went platinum.

Although the band's fortunes were on the upswing, Mustaine was beginning to sink deeper into drug abuse, specifically heroin. Soon, his addictions began to affect his work. Many stories concerning his erratic behavior were circulating within the metal community, and they seemed to be proven correct when he fired both Poland and Samuelson before the recording of the band's third album; they were replaced by Jeff Young and Chuck Behler, respectively. The new lineup debuted on So Far, So Good...So What!, released early in 1988. So Far, So Good peaked at number 28 on the charts and also eventually went platinum (despite less enthusiastic reviews); it also featured a notorious cover of the Sex Pistols' "Anarchy in the UK" with incorrect lyrics.

In the years immediately following the release of So Far, So Good...So What!, Mustaine was impaired by his drug addictions. In early 1990, he was arrested for driving under the influence and entered a rehabilitation program. By the end of the year, he was not only sober, but he had reconvened the band, firing Young and Behler and replacing them with guitarist Marty Friedman and drummer Nick Menza. This lineup recorded Megadeth's fourth and most progressive album, Rust in Peace. The record peaked at number 23 on the American charts and went platinum. 1991 saw Metallica break through to the mainstream, and sensing the possibility for similar success, Mustaine followed suit in stripping down the band's sound, though it remained as technically perfectionistic as Rust in Peace. The result, Countdown to Extinction, was released in 1992, entering the charts at number two; the record went double platinum and became the band's biggest hit, confirming that they had retained their audience in the wake of grunge.

Now one of the most popular metal bands in the world, Megadeth moved further toward the mainstream with Youthanasia in 1994, which entered the charts at number four and, like its predecessor, went platinum. The following year, the group released Hidden Treasures, a rarities collection that featured some of the soundtrack tunes that had helped expand the group's MTV audience in the early '90s. 1997's Cryptic Writings found Megadeth fully embraced by album rock radio, which formerly would never have touched the band. Ex-Suicidal Tendencies drummer Jimmy DeGrasso signed on in 1998, in time for the following year's Risk. In 2000, following the release of the best-of Capitol Punishment, Marty Friedman followed Nick Menza out the door; he was replaced by former Savatage and Alice Cooper guitarist Al Pitrelli. After signing with the BMG subsidiary Sanctuary, Megadeth debuted its new lineup on 2001's The World Needs a Hero.

While on break from touring, Mustaine suffered a serious injury in January 2002 while staying in Texas. He was diagnosed with having radial neuropathy shortly thereafter, a condition that prevented him from playing guitar. The compressed radial nerves in his left arm and hand were strained, leaving Megadeth little recourse but to disband in April 2002, after almost 20 years in the music industry. During his time off, Mustaine prepared an elaborate reissue campaign, remastering each album and reissuing them all with bonus material. This campaign set the stage for a Megadeth revival, which came in 2004-2005 with a surprising comeback album, The System Has Failed, and some heavy touring. Capitol released a new best-of, simply titled Greatest Hits, just as Megadeth hit the summer concert circuit, headlining Mustaine's own Gigantour festival. In 2007 Megadeth released the politically charged United Abominations.

1990 - Rust In Peace

Megadeth - 1990 - Rust In Peace

A sobered-up Mustaine returns with yet another lineup, this one featuring ex-Cacophony guitar virtuoso Marty Friedman and drummer Nick Menza, for what is easily Megadeth's strongest musical effort. As Metallica was then doing, Mustaine accentuates the progressive tendencies of his compositions, producing rhythmically complex, technically challenging thrash suites that he and Friedman burn through with impeccable execution and jaw-dropping skill. Thanks to Mustaine's focus on the music rather than his sometimes clumsy lyrics, Rust in Peace arguably holds up better than any other Megadeth release, even for listeners who think they've outgrown heavy metal. While the whole album is consistently impressive, the obvious highlight is the epic, Eastern-tinged "Hangar 18."

		1		Holy Wars...The Punishment Due	Mustaine	6:36
		2		Hangar 18	Mustaine	5:14
		3		Take No Prisoners	Mustaine	3:28
		4		Five Magics	Mustaine	5:42
		5		Poison Was the Cure	Mustaine	2:58
		6		Lucretia	Ellefson, Mustaine	3:58
		7		Tornado of Souls	Ellefson, Mustaine	5:22
		8		Dawn Patrol	Ellefson, Mustaine	1:50
		9		Rust in Peace...Polaris	Mustaine	5:36

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Zyklon-B - 1994 - Blood Must Be Shed EP

		1		Mental Orgasm		2:54
		2		Bloodsoil	Eithun	2:25
		3		Warfare		5:34
		4		Total Warfare [Sea Serpent Remix]		5:57

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Running Wild - 1984 - Gates To Purgatory

		1		Victim of State Power	Running Wild	3:39
		2		Black Demon	Running Wild	4:29
		3		Preacher	Running Wild	4:26
		4		Soldiers of Hell	Running Wild	3:30
		5		Diabolic Force	Running Wild	5:04
		6		Adrian Sos	Running Wild	2:54
		7		Genghis Khan	Running Wild	4:13
		8		Prisoner of Our Time	Running Wild	5:26
		9				4:41
		10				4:10

¡Aquí!