Rammstein albums ranked:

This list feature is based on my subjective personal opinion, not fan consensus or journalistic research. They are ranked from best to worst, best being simply “my own favourite” and worst being “the one I personally like the least.” I know it is customary to rank from worst to best, but I prefer to lead with the positive. Check out the rankings home page for more albums-ranked lists.

Today, I’ll be discussing German Industrial Metal icons, Rammstein. I’ve been putting off reviewing their records on the blog for a while now, as I wanted to save it for that pre-concert peak excitement phase I get right before I see a band live. I got tickets to see them live for my birthday in 2019, but with the covid delays, the concert still hasn’t actuall happened yet! However, I am in the mood to blog about something today, and I’ve just got their Live In Amerkia blu ray for Christmas and its put me in the mood to talk about this band in particular. Sure, its not the pre-concert excitement peak due to covid, but oh well, at least I have the concert-film to simulate the live experience now. Better than being sick or dead.

.

.

1. Reise Reise (2004) – I was a bit silly, and didn’t get this album when it was new. Like most of the UK, I got into Rammstein around the release of 2001’s Mutter and worked backwards to Sehnsuct, but after a few years, when I was getting out of things like Nu Metal and Industrial and getting into things like Thrash Metal and traditional heavy metal, I somehow just stopped listening to Rammstein, and was always surprised when I would hear about them doing large concerts, assuming they were just another flash in the pan band that came and went. Big mistake. Many years later at the insistence of a good friend, I gave the band a second chance and was gifted this record. What a record, where had it been all my life? Why on earth did I ignore Rammstein for like…a decade?
I think this is the band’s strongest work all the way through. The highlights are immense, but there is also little to no filler, and the album works as a single album all the way through, rather than a vessel for hits only. The production seems timeless, the tunes are memorable, the hooks are strong, the guitar tone is perfect.

I don’t know if I’d go so far as to say “masterpiece” but if you ever dismiss Rammstein just because you hear someone treat them like a novelty band because of the rude music videos and sexual lyrics, or some dim-witted xenophobes who just make fun of them singing in German (I had an ex like that), or people who say the music is bad and they are only headliners because of the fireworks and pyro, then this is the album to check out to learn that Rammstein are a legitimate classic band who write genuinely great music that doesn’t need any kind of novelty or showmanship to cover up for. They could go on stage in jeans and t-shirts and play this album in full without moving on an empty stage with no lights or show, and it would still be the best concert you saw all year. Why? The music is brilliant.

Why is this one number one? Probably the fine line between consistency and diversity. It always sounds like Rammstein, but it tries a lot of different things, and hits the mark every time.

Best songs: “Keine Lust,” “Mein Teil” & “Moskau.”

.

.

2. Mutter (2001) – My first Rammstein album, the public’s favourite Rammstein album, the one with the highest quantity of hits on it. Back in the day, you couldn’t move for the music videos from this album, you couldn’t switch on a rock or metal radio station in the UK without hearing the singles from this, it was an absolute smash hit. There’s a good reason for that, its catchy as all get-out. If you are new to the band and need to pick up a first album, then this should be the default go-to first album. Very much their Ace Of Spades moment.

After coming back into being a Rammstein fan, I want to slap myself for neglecting this record. I loved it when I got it, but I just sort of stopped listening to it after a year or two, too excited by trying new things (1980s things usually). Since revisiting the band though, I can’t stop listening to these tunes, and every time I listen to them, I like them more. It is a pretty instantaneous album to begin with, but it just keeps growing and growing on me.

It feels like an expensive album, the production values clearly higher than the albums that preceded it, but without slipping into the “over-produced” category. The album has such a strong opening with the big strings (the industrial metal equivalent of Kashmir?), ends with a smoky soft ballad, and has a bunch of utter bangers in a range of tempos in between. If you want an album that sounds like angry robots marching towards battle, and yet somehow has a lot of artistic depth, you’ve come to the right place.

Best songs: “Mein Hertz Brennt,” “Feuer Frei!” & “Links 2, 3, 4.”

.

.

3. Rammstein (2019) – This might be a controversial placement, I don’t think this is exactly their most beloved album in fan estimation consensus, but what can I say… I just love it. This is their newest album at time of writing, it was released after a relatively long gap, it will probably be their final ever album, and long time fans feel it doesn’t live up to their expectations. Because I hadn’t been waiting with baited breath however, I don’t have the expectations, and I’ve just loved it from first listen. To me, this is one of their most accessible, memorable, fun, easily-digestible and instantaneous records to date.

Don’t get me wrong, it isn’t shallow, it doesn’t lack for dark and interesting lyrics (“Puppe” especially) and it isn’t overly simple, but it just washes over you like a nice warm bath and everything just feels right. It is probably actually their cleanest and least heavy album to date, which would usually be a problem for me, but it just works so well here and the songs are so strong that I actually don’t mind.  

Alright its not particularly transgressive, alright it doesn’t crunch as hard, alright its not the hands-down best thing they’ve ever done, but it sure goes down easy!

Best songs: “Puppe,” “Ausländer,” “Deutschland” & “Diamant.”

.

.

4. Herzeleid (1995) – Arguably, this is may be objectively dated (some of the electronics sound very of-the-time) and it is also probably the most simplistic release in their cannon, but the core premise of the band is so strong that you don’t need to expand on it too much to make it work, it is a great formula in and of itself without needing to stray too far (ok, that may be a bit hypocritical given the positive comments I made about the first two albums on this list, but it makes sense to me in my own head context, I think it’s the charm-factor… it doesn’t need bells and whistles because it is so charming as it is).

This is the album I’ve picked up the most recently (got it this Summer) so there may be a bit of recency-bias going on here (had to stop myself placing it even higher already for that very reason) but I feel like this is one of my favourite things they’ve ever done.

Best songs: “Wollt Ihr Das Bett In Flammen Sehen,” “Weisses Fleisch,” & “Du Riechst So Gut.”

.

.

5. Sehnsucht (1998) – I know there are a large portion of fans who could pick this as their favourite, so I wouldn’t want to come across as too dismissive of it by having it in the bottom half of my list, but for me, this album isn’t as strong all the way through as the others above it in this list.

This is an album that I’d argue suffers with a bit of filler, that suffers with a slight lack of diversity (without the raw debut charm of Herzeleid to compensate for that), and one where the best songs are so good that the rest just feels a bit “lesser” in comparison.

The best songs here are magical, but since the first listen I’ve always felt the album was a bit up and down, with clear amazing standout tracks, but not as good a whole-album experience as Mutter (or now that I’m older, with more context, not as good a whole album experience as most of their albums).

Don’t let that put you off too much though, we’re splitting hairs on a pretty great discography, and the highlights are very high.

Best songs: “Du Hast,” “Bück Dich,” & “Spiel Mit Mir.”

.

.

6. Liebe Ist Fur Alle Da (2009) – By no means a bad album despite its low placing here, its just that I prefer the others more. There’s some great use of melody here that wasn’t present in the early material and a more live human-approach to the performance compared to the robotic quality of the earlier albums.

However; A bit like Sensucht it doesn’t work as well as a whole-album journey for me. There are some forgettable moments (I honestly couldn’t tell you what “Mehr” or “Roter Sand” sound like now if you offered me a million pounds to do so) and its efforts to be fun are a mixed bag of qualified-success (“Haifisch”) and outright cringe (overrated single “Pussy” – yes it had a clever marketing campaign, but I just dislike the song).

However, A bit like Sensucht it has high highs. Some absolute career highlight bangers, and for a band best known for repetitive crunchy stompers, they constantly try new things and cover new ground.

Best songs: “Rammlied,” “Waidmanns Heil,” & “Frühling In Paris.”

.

.

7. Rosenrot (2005) – Well something had to be last, and to no-one’s surprise, it is 2005’s Load-esque leftovers album, Rosenrot.

Now, this album is not a write-off, and actually has a few of my favourite Rammstein tracks, but there is no getting around the fact that this is the weak link in the band’s discography. Too many ballads, too much silliness, too much forgettable material, frontloaded and generally, just not quite as good as the band’s peak.

I wouldn’t say skip it entirely, but definitely pick it up last, after you’ve exhausted everything else. I heard this after a five year gap in listening to the band, and it made me take about another five year gap, so it is not enough to win over skeptics.

Best songs: “Mann Gegen Mann,” “Benzin,” & “Rosenrot.”

.

.

(Ps. It doesn’t fit anywhere on this list, but the one-off new song from their greatest hits compliation, “Mein Land” is an absolute gem, and should be checked out too).

Exumer – Possessed By Fire Review

When you think of German Thrash Metal, chance are you think of Kreator, Sodom, Destruction or Tankard. Rightly so. One band who shouldn’t be overlooked however are Wiesbaden’s underrated Exumer.

I guess line-up troubles and label issues stopped them getting the same exposure and opportunity as some of their peers, because their sound and formula is perfect for this style of music. Its not blackened or crossover, not progressive or technical, not funky or avant guard, its by the book Thrash, done simply, but effectively. Imagine the missing link between Bonded By Blood and Hell Awaits. Exumer’s cult classic 1986 debut album Possessed By Fire is the closest thing to that missing link. Eschewing the darker, more extreme style most Teutonic thrashers usually opt for, Exumer are Germany’s answer to Californian music (kind of like how Xentrix are for Britain).

The vocals are not the most memorable in the world, but serve the songs. They’re mostly in the mid-range but with occasional high screams. Not too cheesy, not too extreme. The guitar and drums are solid. Not flashy, not virtuoso, but get the job done nicely.

The warm analogue production courtesy of Harris Johns (Voivod, Coroner, Kreator, Sodom) is decent for a Thrash debut (certainly better than Destruction’s early work, less tinny and thin for example).

Highlights include the scream-along Title Track, the more adventurous ‘Xiron Darkstar’ and album closer ‘Silent Death.’

If there was a criticism to be made, I guess lack of originality may be the one to level at this band/album. (They do seem to steal a few sections from other songs **cough** Black Magic *cough* Riot Of Violence** cough). However, no more so than any other C-Tier bands of the era.

A good rule of thumb is that if you take a look at the Jason Vorhees meets Attila The Hun looking artwork and get a nice warm feeling in your tummy, then you will kind of already know what this album sounds like. Does it exceed your expectations, probably not, no, but it does meet them. If you dig albums like Terror Squad by Artillery or Malicious Intent by Razor then you’ll know what sort of level to expect.

Blind Guardian – Imaginations From The Other Side Review

Blind Guardian – Imaginations From The Other Side

Imaginations From The Otherside is the seminal and genre-defining fifth full-length studio album from the legendary German Power Metal band, Blind Guardian. It was released in 1995, and produced by the famous Danish producer Flemming Rasmussen (Rainbow, Metallica, Morbid Angel, Ensiferum) and it caught the band in an unstoppable run of classic album after classic album, with high public will at the time and historical importance nowadays.

The album sees the band in a bit more of a progressive mood; with less difference between the fast, the slow and the acoustic songs in favour of complex tunes that merge all three. It’s a far cry from the Thrashy roots of Battalions Of Fear but still unmistakably Blind Guardian sounding at the same time. The band do a good job at writing more complex and sophisticated songs without making them feel pompous or disjointed… everything flows logically and you don’t really feel as if you’ve sat there listening to the same song for six or seven minutes. It whizzes by as you think about Peter Pan and Narnia etc. enjoying some of the genre’s less-cheesy vocal melodies and some hard hitting Metallic music.

The standard of musicianship is immense, not just in terms of flashy virtuosity but also in more subtle ways and in terms of the actual performance captured here… this sounds like a masterpiece. You know when you get an album for the first time and just think “this sounds important” …this is such an album. Understandably it is now considered a classic of the genre and is justly recommended routinely to anyone interested in the band or this type of music in general and I would easily feel comfortable throwing out another voice in the crowd telling you to get your hands on a copy.

Album highlights for me are the opener, which is also the album’s Title Track, and the more melodic single ‘Bright Eyes’ as well as the brief ballad ‘A Past And Future Secret’ which I feel is the strongest moment on the record. Its all of a pretty similarly high standard though, and arguably best listened to as a single continuous journey rather than as separate tracks.

As strong and enjoyable as the album is, there’s not really that much to say about it other than it is essential listening for fans, its is a good first album for new fans, and that I highly recommend it. It doesn’t have any guest stars, special talking point or singular narrative concept. Its Blind Guardian doing what they do best, to perfection…which is a pretty damn strong recommendation in and of itself really!

Helloween – Walls Of Jericho Review

Helloween – Walls Of Jericho

In late 1985, the legendary German Melodic Power Metal band Helloween came out of Berlin’s Music Lab studios and released their debut full-length studio album, Walls Of Jericho. In so doing, the band arguably changed heavy music forever.

Lead by the very talented Kai Hansen, who would later go on to become the frontman of Gamma Ray and help form Iron Saviour, the band combined powerful US style Thrash Metal (despite being fellow countrymen with the likes of Sodom, Destruction and Holy Moses) with British NWOBHM and their own unique sense of melody and whimsy that would ultimately prove vastly influential over the whole European Power Metal movement.

Compared to later albums, Walls Of Jericho is faster, harder, heavier and more rooted in the Thrash tradition than anything else. If you only knew them from singles like “Mrs God,” “If I Could Fly” and “Live Now” it might come as a shock to hear how raw and ferocious the material here can be.

That being said, everything that would come later in both Helloween and Gamma Ray’s signature sound can be picked up on here. ‘Metal Invaders’ for example tones down the Thrash and adds some of that Power Metal magic, as does the middle of ‘Ride The Sky.’

The record does a pretty good split between the styles of Kai Hansen and Mikael Weikath, in a real spot who wrote what kind of way. The real hero here however is drummer Ingo Schwitchenberg, who’s one of a kind fills and absolute mastery of the double-kick gave such a personality filled performance. Highlights include the furious ‘Metal Invaders,’ the damn catchy ‘Heavy Metal (Is The Law)’ and the memorable duo of ‘Gorgar’ and the aforementioned ‘Ride The Sky.’

Negative things? There aren’t that many. Maybe the vocals could’ve been recorded better and placed higher in the mix, and some of the transitions are jarring so structure isn’t as spot on as in the later albums, but arguably both points only add to the charm of the album, which vastly outweighs the technical complaints anyway.

Overall; Walls Of Jericho is a rawer, grittier, dirtier and more aggressive Helloween album than usual, but undeniably a Helloween album. It isn’t just interesting as historical context either, its fully entertaining in its own right musically. There are some brilliant riffs, some amazing solos and some damn catchy choruses to be found.

If you can, try and get the version which also contains the equally strong Helloween EP and assorted other compilation tracks from this era. It features extensive liner notes, photos, press clippings and the like in the booklet, and the extra music is more or less  just as good as the main album.

Get (Into) What You Paid For – Round 4: Episode 1 Day 7 (Part 2)

Now that I’ve covered the spend/temptation/distraction aspects of Get (Into) What You Paid For, its time to cover the titular aspect, by which I mean I’m getting back to reevaluating old purchases which I overlook, and try to get my money’s worth out of them.

S- AHiG

In honour of the return of Slipknot, I’ll kick things off by re-listening to their fourth real album, 2008’s All Hope Is Gone.

It opens with “.execute.” Their first two albums had clearly “intro” intros, and on their third they essentially made a proper song instead but acted like it was an intro. Here, they take the route Lamb Of God took on Resolution and confusingly stick the drum-introduction to a song (track 2, “Gematria (The Killing Name)”) in a previous track (track 1, “.execute.”) while simultaneously sort of re-doing the intro to “Pulse Of The Maggots.”

A few thoughts…. I wonder if Craig titled this intro? Why not just have this be part of “Gematria (The Killing Name)” like they did with “Pulse Of The Maggots”? When they play “Gematria (The Killing Name)” live, do they actually play that drum intro, or play that bit over the speakers and start where the CD cuts the two tracks?

[Quick side note – In my iTunes, “Pulse Of The Maggots” is now split into two different tracks, “Pulse Of The Maggots” preceded by “Intro Of The Maggots” which separates the speech into a separate skippable track, because… song.

Also, I do the same with Slayer’s “Hell Awaits.” The intro is “Awaiting Hell.”]

Anyway… The song opens nicely, with a sort of complex intro like they liked to do so much on Vol. 3 The Subliminal Verses. I like all the pinch harmonics. I think the quick d-beat bit is really out of place. I remember my brother really hating the lyric about “cigarette ash.” Listening to the song now, apart from the vague idea that it is pretending to be heavier than it is, I like this song. I like the fact that it has guitar solos. I like the DJ scratches. I like the catchy bits and the heavy bits. I like the big groove around 3.40. It might better (tighter) if it ended after that instead of continuing, but I think it’s a good song nonetheless.

Next up comes “Sulpher” which was never off music TV when this album came out. I remember being so sick of this song due to how overplayed it became. Now? Nice Death influenced intro. Brilliant main verse. The radio chorus, despite y’know…being a radio chorus… is awesome! I forgot that. I remember it being a sort of two-faced light/shade affair, but I didn’t remember that both sides were good. Nice guitar solo too, and the part under it is neat. Again, the Machine Head influenced big groove (which actually IS the ending this time) is awesome.

OK. Another good song. Call that the first two songs and it’s a 100% success rate so far. I’d easily put both of these in a “Best Of Slipknot” tracklist.

How about track four? “Psychosocial.” I remember thinking that this was trying a bit too hard to replicate the success of Duality. The main riff is actually kind of Ministry or Rob Zombie flavoured if you pay attention. The chorus, hmmm…. Its delicious but so out of place. Oh well, I like it. Who am I trying to please here? Some Blabbermouth troll in an Obituary t-shirt or MY EARS?

More lead-guitar goodness. Hoorah. The midsection with all the snares is cool. A bit “Hey, people enjoy The Blister Exists, what else can we do?” but hey, its cool. Get over it My Brain!

Also luckily, now, its been so long since I’ve watched music TV that its no-longer overplayed AND I’ve forgotten the viral video where its mashed-up with Justin Beiber. So its just a song. A good song.

Next up is “Dead Memories.” “Dead Memories” is awesome. Really nice drums. Some of the best Corey clean vocals in this band. Even though I struggle to accept this song as Slipknot and not Stone Sour and have a sort of principle thing against it, this song is excellent and I love it. Also…boy, oh boy was this thing overplayed at the time.

Wow. I’m really enjoying this record actually. I always think of it as their worst. The career nadir. Its not that bad, and I’ve just listened to the “one with the stupid lyrics” and the three overplayed ones. Now come the deep-cuts!

First up – “Vendetta.” Swirly, death-influenced intro riffs. Stompy feel. Kicks into a great main verse. It could do with having heavier vocals, I remember that being a discussion point against it at the time. I remember the first time I listened to it, in a cramped, smelly room. I remember thinking the band have lost their heaviness.

I think the song also takes a bit too long to get to the chorus. I like the chorus though. Could do with better lyrics… but whatever. I really enjoy this song. I don’t ever remember that this one is called “Vendetta” but I do remember every second of music. I like 80% of said music. This is a good track. The worst thing I could think about it at all is that some of the segments change jarringly, but even that’s stretching it.

“Butcher’s Hook” comes next. The first “weird one.” The Skunkworks one. All Slipknot albums have a few “weird ones.” Going right back to the demos, there was always a love of creepy, off tracks. Every album has a “Tattered And Torn” or “Skin Ticket” or “The Virus Of Life.” The ironic weird thing about this weird track is that it weirdly has a commercial chorus of sorts and despite its clear and obvious weirdness, it is somehow a normal song. If you follow. Its either deceptively digestible despite its progressive nature, or only weird in a token check-box way but actually a normal song. Either way, every part of it is good. I like it. I think of it as this album’s “The Shape.” “The Shape” was weird as balls but could fool you if you weren’t paying attention. But then I guess that’s this band. If you don’t concentrate, you miss the depth and subtleties of a nine-member band who hate conventional song structure and sneak in odd time-sigs without boasting about it.

“Gehenna” is next. It is a slow, creepy one. The lyrics feel like a sequel to the track “Iowa” but the music sounds like a sequel to “Vermillion” with a bit of “Virus Of Life” style synth in there too. The slow, drony verses have a Sci-Fi feel. That one bit where they keep throwing in the heavy snare rolls but going back to the slow dirge is cool. Then it does its own version of a clean chorus (kind of) and becomes a normal song. It kind of steals the song’s weirdness. But the vocal specifics and the part which follow it make me think its trying to be like Antichrist Superstar’s pained outcast artist vibe, and that its all a bit “Minute Of Decay” and we’re unfairly treating it as “Everlong”

Who is we? … cripes, I’m going a bit crazy here! You know what I mean right? I think on the one hand it seems deceptively commercial, but on the other hand it isn’t, its just clean prog not noisy prog. There! I’m not crazy, I’m just dorky! (And trying to please an imaginary, disapproving, super-nerd by protesting too much… totally a normal thing to do!)

Anyway, that song is fine. Not great, but not worth cutting either.

“This Cold Black” follows. This seems like a nice “Metabolic” or “Deluded” or “Welcome.” The good Slipknot. The deep cuts. The “this is Slipknot at their most Slipknot” Slipknot. That Slipknot.

I like this song a lot. The variety in the vocals is cool. I wonder if its Clown or Chris doing the backups, or just Corey putting on a funny voice? The chorus is a bit odd. Sort of jagged, and out of nowhere, and yet its catchy, and when it leaves it makes the next bit sound cooler by contrast. That and the build up with the broken key lyrics over it is cool. A build-up that doesn’t build up? Nice one!

Also, hooray for guitar solos and fast parts! Then that staccato part is nice. And the deathy transition riff doesn’t feel forced either. Definitely one of the better songs on the record. Shame it won’t get played a lot live.

“Wherein Lies Continue” comes. Comes like creepy mutant. Well, not that creepy actually. Pseudo-creepy. This is oddly tame, but still clearly another Skunkworks type thing. Its quite “Virus Of Life.” The heaviest of the three, its like Tattered And Torn if that wasn’t creepy. It does that clean chorus trick the previous ones did. The clean chorus is good though, so what’s the problem brain-jerk? The bit that follows that chorus is awesome. I love those multi-percussion bits in Slipknot. Then, wham! Another Machine Head influenced groove ending! Its not the ending…but, y’know it should be. And then it is, later, when it comes back…because OF COURSE IT SHOULD BE. Also some trippy robot-duck guitar hidden in there too, because layering.

“Snuff” follows. It is awesome. It has always been since first listen my favourite song on the album. Interestingly, for someone with so much difficulty accepting the clean vocals and commercial leanings of the album, my unashamed, un-ironic, honest favourite thing on the whole record is a ballad. A brilliant, powerful, non-cheesy and totally dramatic cinematic ballad. It is awesome. A masterpiece. Well done for writing it Slipknot! No matter what score you’d award this album, it is hugely boosted by this gem. There is more brilliance here than on the full rest of the record combined…. Kind of like how Motely Crue themselves think about Home Sweet Home/Theater Of Pain.

Then to close up the album, comes the final track, the Title Track, “All Hope Is Gone.” It has one of those Vol. 3 complex intros. It has speed. It has DJ scratches. It has noisy blast beats and death influenced riffs in the verses. The chorus is strangely a weird rolling post-chorus. Its quite impressive actually. Oh, that’s why, because its not the chorus, because there’s a groove, with a clean vocal instead. The whole bit before and under (during) the guitar solo is awesome, even if the solo itself isn’t amazing. Then a bit that is so massively Slipknot that it defies further comparison. What did Slipknot add to music that wasn’t there before, you ask? That! This bit!

OK. That song is decent too. This third and final time the chorus comes in its actually cool. I wonder would the song be better if that was the only time it was there though? Oh who cares…stop being so picky, jerkwad. This is a good song. This is a good album. Its still their worst. But now only by a hair instead of by a considerable margin. Jerk off, jerky jerk-impression! Your false memories, prejudice against Corey’s clean singing and sickness at the overplaying of the singles is now not how this album is. How this album is, is good!

PS. Oh yeah, and the bonus track, “Child Of Burning Time” which is pretty much Vermillion again. Only better. Maybe this should’ve been on it instead of “Gehenna” and also should’ve been a single? Considering that enjoying money is a thing…

Also, the decision to put a remix of a song from a track from a previous album in-between two proper songs from this album’s sessions is insane and so I’ve disallowed this madness from my iTunes. That song is put on the end of Vol. 3. The next song here is “Til We Die” because that makes much more sense.

“Til We Die” starts out like a creepy-ass sea-side song, in an alcoholic’s memories. Then suddenly turns into a powerful, real-song version of the intro from Vol. 3. (More real, I mean). It is awesome. This, the previous one, Dead Memories and Snuff are the best material here. They are better than all the ones that actually sound like Slipknot. Maybe they should’ve sold out harder…not tried to hide it with blast beats and death riffs.

[Or maybe it’s a good balance you knee-jerk reacting jerkhole. Maybe they aren’t “covering it up” but rather just mixing two things they enjoy.]

STOP HITTING YOURSELF, NUTCASE!

E – BbB

Next, from something with lots of derision to something with universal credibility in our world; Think 1985… Exodus’ Bonded By Blood.

At the time, even in the deepest throes of my Thrash-passion, from my first days of Thrash Obsession, I always felt that this album was poor. The title track was one of the best songs ever written by anyone and then the rest of the album was dull repetitive cack and the band were much better off on the fantastic next two records, Pleasure Of The Flesh & Fabulous Disaster.

Well; one listen and yup, the Title Track is fantastic. Perfect. No further comments, your honour. The defense rests.

The next song, the song actually called “Exodus,” opens up with a riff that kind of sounds like Dave Mustaine. The vocals are weirdly produced, painfully too-loud and kind of in a metal box. Not Metal. Just metal. That Mustainey riff is fun. The bit of the chorus with the “Get In The Way…” is catchy and sort of punky. I also like the little Iron Maiden-esque jangle before “…and Exodus attack.”

The song has a great guitar solo too. If the vocals were produced normally this would be a pretty perfect Thrash song. The deh-neh-nay-ne-neh thing sounds like early Overkill, which is a bonus. And some of the drum fills here are absolutely bad ass. The song only seems dull and repetitive but all the little touches really make it.

Then there’s the nuclear-themed “And Then There Were None” which opens up with a nice chugging riff augmented by a Tom pattern that I’m sure turns up on Nirvana’s Bleach album somewhere. Love Buzz, maybe? This is perfect mid-paced Thrash. It would be good DVD menu music. Or good under-the-narrator in a Thrash Documentary music.

Its kind of weird that the backing vocals just sing the melody. Like at an Iron Maiden concert…but in the studio. “AAAAAH, ah-ahhh-ah-ah-a-a.”

The whole adventurous mid-section and the fast bit which follows are excellent. I love it during the solo. This is a good song. I remember always wanting to turn the record off afterward though. I think it has that problem of the last few Exodus records that the song is just slightly too long. Of all Exodus records. Sometimes they have a song that’s just too long. They’re awesome, but sometimes they need an editor. Only sometimes.

Next comes one of the band’s then-signature songs (the other being “Piranha”) if my memory of various magazine articles from the time I bought this holds up, “A Lesson In Violence.” I remember resenting this song as a teenager for not being as awesome as it should be given how fond the band seemed to be of it. Interestingly, looking back now, these two are the two shortest and presumably therefor tightest tracks on the album. Free from that too-long thing then!

Oh yes, and the chorus is catchy and awesome. I remember hating the lyrics at first impression (essentially rhyming “lesson in violence” with “lesson in violence”) but now that I’m used to it for years and years, its just music, and that music is good. Also, I like the riffs, the speed and the solos. This is a good song. Bonded by Blood is better but this is still a deserving signature track. Consider me converted. Its great not being 14 anymore, isn’t it? 12 years in the future is a beautiful thing, ey?

Next comes “Metal Command” which I remember thinking sounding dodgy, but now it is charming and NWOBHMy and a sort of missing-link moment like early Overkill. Also the production on the solo is awesome and the brief little neoclassical noodle at the very end of the solo is neat. This song just got stars in my iTunes.

The aforementioned “Piranha” makes its appearance next. This song’s opening riff is kind of Slayer/Sodom/Kreator. It is for the mean-Thrash crowd. The people who don’t necessarily like Anthrax as much as they might. Then it kicks into a more bouncy part. The chorus is catchy. There are way too many effects on the vocals, but that’s a very minor complaint. Also, nice solo. The H-team always were awesome at guitar solos. This album in general is way better than my first impression of it was. I wonder if it was just the whole line-up changes thing messing my brain around with Exodus, causing side-choosing.

[Side note: Ohhh, ooooh. Remember that whole intro thing, like “Awaiting Hell”? etc. I do that with Exodus’ “Deranged” because…that intro makes me skip the whole of Deranged when really I should only skip the intro.]

Next up, a nice bit of variety. “No Love” opens up with a nice, fancy, tasteful Spanish Guitar, clean intro. That was a big thing on Thrash openers wasn’t it? – Sometimes separate tracks, sometimes not. – Pleasure To Kill, Alice In Hell, Ride The Lightning etc… they all have that. A little bit of Spanish guitar before the Thrash. I wonder why they didn’t make this the first track then?

Maybe they did, and then they realized that the title track was so absolutely fantastic that nobody had time to wait for it, and so that just HAD TO be the first track?

Anyway, once the Metal-bit starts, it’s a bit more midpaced again. In a slightly off time-sig that reminds me of a specific Dream Theater moment on Awake which I can’t remember right now. Also, the way he say’s “The Darkness Is My Lover” is clearly influenced by Accept. I would have never noticed that before. Also it sounds like he says “Leather” and not “Lover.”

Oh, there’s a neat NWOBHMy bit around 2.40. Then a neat solo. This song is full of surprises. And some bad-ass fills once it slows down around that next set of solos. This song is what we in the Thrash fan world call a mini-epic, and I never even realized. Shame. I wish I realized how good it was at the time I got it. Oh well. I know now.

Next up is “Deliver Us To Evil” which by its two-minutes-longer duration might actually be a mini-epic. It has some nice little touches. With its stop-start bit, and bouncy drums. It also has slightly choppy, but proggy complexity, which at the time I mistook for “not playing properly.” Woops. I guess my brain wasn’t developed enough when I got this initially.

It has a really fun Maideny/Priesty bit underneath the solos around the four-minute-mark. Some really fun riffs!

Lastly, the fast one. Back in the day, instead on ending on the obvious closer… they would usually end on a super fast, shorter song. That happens here. This speedy track could easily be described as a “teeth kicker.” This is pure Thrash. Absolutely pure. Almost too pure? I remember thinking this was too simplistic at the time. I was WRONG at the time. Good song, good album, good band. Good subgenre.

Oh yeah, and here’s a TOP 5s thing for Thrash:

Exodus :
1. Bonded By Blood
2. Fabulous Disaster
3. Brain Dead
4. Chemi-Kill
5. Seeds Of Hate

Testament :
1. The Preacher
2. Souls Of Black
3. Into The Pit
4. Practice What You Preach
5. Apocalyptic City

Metallica :
1. Blackened
2. Creeping Death
3. Master Of Puppets
4. Eye Of The Beholder
5. Ride The Lightning

Forbidden :
1. March Into Fire
2. Forbidden Evil
3. Twisted Into Form
4. Hypnotized By The Rhythm
5. Infinite

Kreator :
1. People Of The Lie
2. Coma Of Souls
3. Terrible Certainty
4. Stream Of Consciousness
5. Pleasure To Kill

Annihilator :
1. Alice In Hell
2. Road To Ruin
3. W.T.Y.D
4. Stonewall
5. I Am In Command

Anthrax :
1. I Am The Law
2. A.I.R
3. One Man Stands
4. Lone Justice
5. Death Rider

Megadeth :
1. Rust In Peace (Polaris)
2. Set The World Afire
3. Hook In Mouth
4. Peace Sells
5. Mechanix

Slayer :
1. Postmortem
2. Raining Blood
3. Blood Red
4. South Of Heaven
5. Crionics

Nuclear Assault :
1. Survive
2. Brainwashed
3. Critical Mass
4. Nuclear War
5. Game Over

Overkill :
1. Overkill
2. I Hate
3. Elimination
4. In Union We Stand
5. Feel The Fire

As for the bands who I don’t feel I can make a Top 5 for, my favourtie Sacred Reich song is “Whos To Blame.” My favourtie Death Angel song is “Veil Of Deception.” My favourtie Vio-lence song is “World Within A World.” My favourtie Exhorder song is “Un-born Again.” My favourtie Heathen song is “Pray For Death.” My favourtie Onslaught song is “Thrash Till The Death.” My favourtie Sepultura thrash-era song is “Beneath The Remains.” My Sodom song is “Agent Orange.” My favourtie Voivod song is “Tribal Convictions.”