Master of Puppets avant garde? Negro Please. Of all the thrash metal acts to spring from out of nowhere throughout the s, Dark Angel was both one of the best and most influential. They formed in in California and much of the earliest part of their career was centered around recording demo tapes through which they achieved a cult following. They then sought to develop their fan base a little by releasing their studio demo, appropriately entitled We Have Arrived in Two years later, the band would put out their seminal sophomore album entitled Darkness Descends.
Things would never be the same again for the band. Dubbed the "L. Caffeine Under My Skin - Dub Taylor - Experience (Vinyl, LP, Album) for their over-the-top style of thrash metal, Dark Angel took what was considered fast at the time and completely redefined it.
Darkness Descends takes a relentless approach with a lot of anger and attitude behind it, characterized by Gene Hoglan's legendary drumming talent and the manic and varied vocals of Don Doty. The riffs are bludgeoning and lightning fast and center around tremolo picking and quick trills and perfectly embody the nonstop approach that truly set the band apart from their peers.
Though initially uncredited on the first pressings of the album, Rob Yahn also plays a vital role in the manic sound the band creates by laying down a solid backdrop for the rest of the band with the low-end thudding of his bass guitar.
Whilst the rest of the band create their mayhem with insanely fast riffs and relentless drumming, it is Yahn's job to ensure that the band has one constant in their sound so as not to alienate the listener, but still allowing the rest of the instruments to truly overwhelm whomever listens. One would think that an album that moves along at a consistent pace of faster than two hundred beats per minute would become tiring after a couple of tracks, but that would be a misconception.
In fact, this is where Dark Angel's real genius comes into play. Every song has standout moments that set them apart from the others, be it the demented shriek of the titular words of opening song Darkness Descends, the crunchy slower riff that opens up Hunger Of The Undead, or the mid-paced riffs to the eight minute masterpiece Black Prophecies.
Also, this album has a knack of luring the listener into a false sense of security with a well-timed slower passage, so it does not become a snooze-fest before diving back into a seemingly never-ending pool of tremolo-picked riffs that feel incredibly creative. It is often debated whether this or Reign In Blood was the fastest album of its day and Darkness Descends wins this hands down, although which was of a better overall quality is a debate for another time.
Another thing that contributes to the masterful show that Darkness Descends puts on is the mood. This release possesses a completely apocalyptic atmosphere, contributed to in no small part by Gene Hoglan's incessant drumming and Don Doty's insane-sounding vocal performance. Hoglan pounds away at his drum kit like there is no tomorrow, creating the feeling that there truly will not be a tomorrow. The beats are savage and fast with a whole lot of rage crammed into them and never sounding hollow or flat due to a crisp production job.
Over the top of this, Don Doty was left free to go wild with his voice and he accomplishes this in spectacular form. From the aforementioned scream on the song Darkness Descends to the ferocious lines he thrusts out on closing song Perish In Flames, Doty never once stops sounding completely feral when his mouth is open.
He has a fine range and proves on here that he is capable of falsettos, screams, and demented chanting, and with every word you will grow more and more unsettled.
Darkness Descends is a spectacular example of how speed-based thrash metal can be done perfectly. The drumming is chaotic, the vocals could easily have been the voice of a generation of metal musicians, and the production job is tight, Album).
Who could forget the opening almost military-sounding drum beat of the title track or the water-tight riff set to Merciless Death? I know I sure as hell couldn't. This is an album I highly recommend to almost everybody who is into metal and wants to hear a band that does not know how to slow down enough that so much as one note becomes distinguishable from the rest, but still manages to sound absolutely awe-inspiring.
Reign In Blood? Pleasure To Kill? Bonded By Blood? Basket of cute kittens compared to this monster of yummy thrashy goodness. This album really should come with a coupon good for one free visit to your local chiropractor It's just insane thrash riff after insane thrash riff after insane thrash riff after insane thrash riff after insane thrash riff after They're noise, but coherent, melodic noise.
Vocalist Don Doty sounds like he's about to get mauled by a pack of wild tigers, and gives one of the most over-the-top performances ever cut to tape. The entire band is cranked up to 11, but Doty's intensity level is pushing Durkin and Meyer pretty much perfected the art of riff transitioning here, as every riff flows into the next. Gene Hoglan gives a very Gene Hoglan-like performance on the drums This is the next logical step from Hell Awaits as far as thrash progression goes This is everything Reign In Blood wishes it could be, more violent than anything Kreator could dream of, and more insane and evil than Venom ever were.
The year was Thrash was just coming into shape. At that time heavy metal wasn't too much aquainted with speed and brutality at the same time. Few bands like Venom, Kreator, Bathory had tried it befoe with their respecrtive outputs, but none were as convincing as this one.
On 17th Novemberthe world was struck down with this heavy, dark, fast, brutal piece of music. At it's release there was practically no album on the planet which could beat this album in terms of extremity and brutality.
As in any thrash metal album, the guitars are the real standouts. The guitarists are technically superb, and Phone Song - H2O (7) - Thicker Than Water (CD, Album) riffs that they churn out are even better.
The riffs are heavy, fast, and brutal. The lead work takes a bit of backseat on this album compared to the riffs of course. The drums are lethal well it's Gene Hoglan what else can you expect?
This album features the first introduction of Gene Hoglan as a drummer and on this album he makes full utilization of drumming skills.
The bass is burried in the drum and guitar fury so we can't hear much of it. The vocals are violent and brutal and in short great for such an album. The main highlight in this album is the songwriting. The songs are straight-forward, simple and not too complex, but performed with an energy which is never seen before. The songs stick in your head at most by the second listen. Among the songs, the opener title track is the best song off the album. It is straight forward and aggressive track.
Lars Ulrich ripped off the machine gun drum fills and The Burning Of Sodom - Dark Angel (3) - Darkness Descends (CD riffs from it for the Metallica song One unsuccesfully of course!!! Black Prophecies is a slower, and more doomier track. It is almost 9 minutes long and it singlehandedly contains almost 70 riffs.
The Burning Of Sodom is a superfast song, almost bmp. Merciless Death is also an enjoyable track, with an excellent catchy chorus. The rest of the songs are also equally good. This album is highly recomended for anyone listening to thrash metal music.
The energy with which this album is performed is just superb. The construction of songs and the way the riffs built upon each other is just outstanding. Further there is the dark and dirty atmosphere brought down by the production. The production assists the song in every possible way. Concluding this is one of the most essential pieces of thrash metal music, so please get it without further delay of time.
Dark Angel's "Darkness Descends" is quite often seen to be some kind of godly masterpiece of this genre, but I beg to differ and I never really understood what's so special about it. It's extreme metal's biggest problem. Any band that's not a popular band develops a cult following full of extreme fanboyism. Everything that made Slayer's groundbreaking album memorable is missing here. I must admit the album does have some merits for what it is.
On first hearing it, it's extremely fast and lives up to its hype of being a really fast thrash metal album. This is exactly where Dark Angel lost the plot completely as they got carried away with it and forgot to implement the bare essentials of any good album. The lyrics are horrible and never make any attempt to be taken seriously. The vocalist doesn't quite know what he's doing, resorting to random, aimless screaming over the riffs with the occasional high-pitched scream. They sound tame compared to Tom Araya's hellish, blood curdling screams with Slayer.
The vocals are pretty weak by any standards and offer nothing in terms of memorability. The album's biggest flaw is actually its biggest strength. Yes, it's a technical feat for this genre but has no lasting musical value. The riffs themselves are plenty, but I can't recall a single riff worth remembering. The endless train of fast riffs are indistinguishable from each other and every new riff is just a slight alteration of the previous one.
This approach is abused infinitely, creating a false impression of 'variety' for the easily impressed and simple minded folk. Gene Hoglan's drumming is spectacular if only you fancy hearing the same crushing blast-beats pounded over and over again. The man's skill could be Album) has been used much better in other albums.
The band tries its best to mask its shortcomings in the songwriting department by focusing on sheer speed and brutality. This approach loses its novelty quite quickly. The guitar tone itself is not very interesting compared to other albums like "Pleasure to Kill" or "Persecution Mania"both of which had a visceral, abrasive guitar tone that is lacking here. The drums sound a little better, being a repetitive, endless assault on the senses. As you get to about track 3 or 4, you realize soon enough that the band is a one trick pony, trying to impress you with its inherent 'shock value' like a low-budget, independent zombie gore flick with lots and lots of blood splattering and cheap special effects.
They just don't have the same effect on you as the two tracks at the beginning. The band can only work the same tempo so many times before it gets tedious and repetitive. The tight musicianship is commendable but the lack of composition skills and vision is a dead giveaway as the song barely keeps you interested over its 8 minute length. People have to remember, its inherent quality as a really fast thrash metal album alone doesn't make it a classic.
You see, the more thrashier doesn't necessarily mean better. If you're a new listener, it's easy to get carried away by the speed, but give it time, let the nostalgia pass and you'll eventually realize just how mediocre this is. Just like any other genre of music, good songwriting applies to even extreme metal, and that is where this band falters and this is what keeps "Darkness Descends" from being remarkable today or even back in thrash metal's heydays.
This album will have you jumping into chainsaws, hitting your friend with a sledgehammer. It will have you trying to run through walls and thinking throughout the album that the world is going to end. Each song has a moment or two where you reach new heights in your life because your adrenaline is putting you on cloud 9.
The album begins with an introduction that is mid paced and makes the listener built up angst for the mach speed sentiment the album brings, this goes on for about a minute and half before all hell is let loose.
Darkness Descends then begins with a fast machine gun riff that will be present between verses, which will make the listener picture war drawn scenes. Following the 2nd chorus the band goes on a solo break with Eric Meyers and Jim Durkin on the guitars. They play with the wah pedal, but the notes they play are distinguishable and are not played rapidly or picked to fast, where it sounds like just bland noise. The song finishes up with a 3rd verse and a war cry at the end of the final chorus from Don Doty.
Excellent track to start the album, especially with those machine gun riffs present. It begins with a guitar riff that is on par with a chainsaw. Don Doty unleashes a yell that is from beyond this world and Gene Hoglan begins beating on the drums and the metal battalion has arrived. They slow the bridge down and then speed things up as they enter in the 3rd verse.
The drum work on this song is exceptional and is played at break-neck speed. The song is catchy, but the best part is in the bridge where the band slows down for a brief time and picks up their speed Typical 3 verse song, but it has those machine gun guitar riffs between verses and present during the chorus. They play the song at uber fast speeds during the verses with more excellent drumming. The chorus has a memorable line with shrieks like a banshee from Doty.
The band slows the bridge and guitar solos down and has Doty with his hellish and evil laughs transition to the fast sound that we all love Dark Angel for. The lyrics in the song are by the far the best on the album and are relating to Nostradamus and the mistakes of mankind by ignoring his word. In the middle of the song they get into a progressive break, the only one on the album, and the listener is greeted with more Dark Angel guitar riffs that will make you want to split your neck. The pre-chorus to this song is ultra fast and will make you want to jump into walls, it is the perfect transition to the chorus, which is also at break neck speed and will make the listener think that buildings are falling and the world is close to an end with the mad drumming on the skins by Gene Hoglan.
The band breaks into memorable solos by Eric Meyer and Jim Durkin with their wah pedals going in a frenzy. After the solos Don Doty begins to make demonic beast growls and the band finishes the album with a 3rd verse going at mph. This album falls short from perfect.
Mostly because they have the same structure throughout the album and because some of the riffs sound recycled. Darkness Descends is the fastest and most brutal Dark Angel album and is my favorite one. The time was right to strike. The crowds wanted blood with their speed.
They wanted crunch. They wanted unshakable violence, raw spectators of gladiatorial combat, and the Golden State was one of the first to heed the call, going on to spawn an enormous number of memorable bands like Sadus, Testament, Vio-Lence, Death Angel, Forbidden, and so forth in the span of only a few years. But one name stands as releasing perhaps the most extreme, intense thrash metal album of its generation, giving even Slayer a run for their money, and that name is Dark Angel, whose second full-length and Combat debut Darkness Descends sends shivers down even the most rugged thrasher's posterior.
This album was important for a number of reasons, not the least of which is the emergence of Gene Hoglan as one of the prominent percussion forces in extreme metal. His rampant footwork and consistent bludgeoning are one of the most memorable characteristics here, upping the ante for thrash drummers everywhere as they had their heads spun off their necks in the destructive aftermath.
By today's standards, in which the death and black genres have stolen metal music off to the coldest and most unfeeling, mechanistic of climates, this performance might seem like old hat, but for it was unbelievable, making even Dave Lombardo blink twice. Marrying this concrete precision shit storm was one of the more blazing guitar duos in the US, Eric Meyer and Jim Durkin, who decided that the best approach to writing was throwing everything, including the kitchen sink, directly into your face.
Each of the seven compositions here cycles through a good number of cocaine rodeo riff assaults that almost unanimously deliver the ominous environs promised by the iconic cover image. I can't promise that every one of these riffs sticks, and surely this is one of the few shortcomings of the album that would hold it back from the attention whoring of a Slayer, Megadeth or Metallica, but they are at least effective as a whole. Doty's vocals were not always on point with me, but I will admit that he, like early Tom Araya, was exemplary at knowing precisely where to lay into a scream.
The catty, grating voice he would normally hurl out across the energetic mesh of guitars would occasionally feel too light-hearted for the music, despite the blasphemy and gravitas of the lyrics, but there are certainly a number of lines where he's alight with the blistering menace of the instruments, and it all comes together like a drunk out of cold turkey rehab the first time he re-enters a liquor store.
As I mentioned earlier, the riffs fly at you like an out of control pitching machine in some hellish batting cage, but not all of them penetrate the memory equally I don't remember much of "Black Prophecies", for example. However, they are performed with such a taut intensity, ever on the verge of explosion, that they still sound like an impressive array beyond decades of shelf life, and even forthere was a lot of bang for the buck here when compared to most thrash or speed metal efforts.
I might be in the minority in claiming to prefer the following albums Leave Scars and Time Does Not Heal, with their wall of text lyrical excavations and increased riffing complexity which yielded mildly more memorable resultsbut this sophomore has always remained an enticing, reliable option for a refresher in the pure propulsion this genre once promised, a nuclear celebration of murder and mayhem that very few peers could stand alongside without having their knees broken and skins flayed off.
Thrash metal, in my opinion, is the most misunderstood genre within the metal world. This owes itself not so much to which albums are deemed as legendary, but in how these legendary albums are regarded in contrast to the rest of the scene.
It is both ambrosia to all who adore the fast paced, aggressive, grittily produced, formulaic, hyper rhythmic aspects of the style, and the absolute bane of those who wish the genre to be something slower, more polished, more progressive, and more melodic. The first thing to understand about this album is that it is a purified version of what is actually a highly varied style of playing.
This purification of style further manifests itself to include all aspects of the sound, from the most basic fundamentals of the sound to the minutest detail of each guitar solo. The guitars come off as distorted and dark, but defined and clear enough to someone who has been weaned off the mechanical nature of modern production practices.
One should not downplay the obvious skill that each instrumentalist brings to this fold either. Rightfully referred to by any and all who love the rapid double bass kick now popularly used by many black and death metal bands as The Atomic Clock, Gene Hoglan basically establishes his credentials here and holds insanely fast beats in perfect time for durations unheard of. The lead guitar work on here is also impressive, not so much going for the fluttery feedback and waterfall chromatic scale style of Slayer, nor the formulaic styles of the other 3 in the Big 4, but instead a sort of agitated set of lead passages that work Potemkin(DS)Dmitry - Impressions (File, MP3) the song rather than trying to rise above it.
The greatest misconception about this album is that it all sounds the same from start to finish, something that only an obtuse listener would conclude from a single sitting. There is a general constancy in the aggression factor and a lack of atmospheric nuance with a few notable exceptions, but within this purified beast there are many intricate outcomes. Basically all of these songs are highly intricate, though they rely on percussive and riff contrast rather than melodic development to achieve a sense of variety, which tends to be lost on some that are more inclined towards the mainstream tendencies of better known outfits.
Ultimately, the controversy that this album has caused is a reflection of both its uniqueness and its greatness. It is logical that this be treated as the standard by which thrash metal is measured, and decried by those who would like to see a more varied nature to this style of extreme music. Nonetheless, it is folly to assume that because this album set some sort of standard that there is nothing left to do in this style.
Taken to its logical conclusion, this ends up being the only thrash album to ever have existed if one insists nitpicking all of the extra elements that exist within both earlier albums that tended closer to the NWOBHM roots of the genre, as well as that of the later evolutionary steps the genre took before branching off into different extreme or melodic styles.
Nonetheless, it is also a mistake to assume that stripping the essential characteristics that are on full display on this album can result in the style existing at all, as some fans of Metallica and Machine Head seem to believe. This album is thrash in its rawest form, it is meant to be enjoyed and played at maximum volume, not used as some sort of tool for pigeonholing a sub-genre of Yer Çekimi - Xir Gökdeniz - İz Öncesi (CD, Album) metal.
Originally submitted to www. Metalheads love it, to the extent that anything approaching eighties thrash is often lauded as incredible even when it is merely competent. Modern bands like Evile guarantee respect from 'true' metalheads as opposed to Machine Head fans, I guess by simply resurrecting this most stale and overdone of genres.
But, at the end of the day, thrash is pretty much spent as a pure musical force. Don't get me wrong - everyone likes a bit of thrash, me included.
It's just that the vanilla genre has already been absolutely flogged to death, has gone as far as it ever can or ever will, and is simply incapable of progressing without turning into or drawing influence from something else. It has stagnated for too long; it has become set in its ways, a rigid formula that offers some good music but absolutely no artistic freedom.
It was all the way back in that Dark Angel pretty laid down the last word, with the complete monstrosity that is "Darkness Descends"; something that condensed the key elements of the genre into a single cogent, unified blast of obliteration. This album is it. There is, indeed, none more thrash. Whilst "Reign in Blood" is lauded for its influence on the forthcoming new wave of extreme metal, the speed and angular chaos breaking new boundaries, it is "Darkness Descends" that surely must stand as the ultimate thrash album.
For within, Dark Angel take every element of thrash and subject it to a sand-blasting, a refining process that strips away all elements of superfluity and leaves a bludgeoning, destructive core open to surveillance. Here are the very purest elements of thrash exposed and conglomerated into a monster. Rather than innovating, Dark Angel extrapolate on a formula, morphing and moulding their music into an enormous and intractably malevolent monument to what came before.
You may cry for help. Do they listen? They laugh at such pitiful pleas for clemency, and urinate on the faces of old women. Or so I've been led to believe.
The thick guitars and rumbling bass form a dense wall of sound, a churning maelstrom of relentless riffage that storms eagerly forward with blurringly incessant speed.
There is little here which can be called technical, and no attempt at dynamics is made; the riffs are, from first to last, low-end thrashing of the most brutally direct kind. Rather than the twitchy angularity of Slayer, Dark Angel focus on thick, almost drone-like pedals, with the riffs consistently based in and returning to the same chord. This pedal is almost entirely delivered using a lightning fast semi-quaver strum, and gives the music an anchored feel throughout; the use of this device emphasises key changes in the music to enormously profound levels, like a seismic tectonic shift has just taken place in your stereo.
Where such techniques are not used, the band takes the opportunity to create moments of tension before releasing into the forceful and sweltering rumble - the opening of "Merciless Death" being a prime example, as the band consecutively ratchet up the tension like turns on a rack before erupting. On the whole, the guitars are essentially a solid wall of sound, rolling over and flattening the listener with primal force. Drums sit, propped up on the riffage; precise and cutting, surging through the black tide; a demon spreading its malevolent wings.
Swift and clean beats are delivered with inch-perfect ferocity, surrounded by the churning mass of guitar like galloping hooves within a suffocating cloud of devastation.
Gene Hoglan exhibits by far the most effective use The Burning Of Sodom - Dark Angel (3) - Darkness Descends (CD the tried and tested 'polka beat' ever used, taking a much used element of thrash and turning it into a primal force of nature. The overall sound is forbidding and powerful, simultaneously kinetic yet static; a paradox beautifully realised, as the crushing weight of a deep and intractable solidity settles comfortably up against a rush of furious speed.
The music thus seems to be in a constant state of explosion; existing in furious cycles like a whirlpool, the rhythms forming hypnotic and destructive motions within the listener, yet remaining anchored - mired deeply within a dark and malevolent atmosphere. Soaring, eagle-winged above this grinding process of destruction, the naturally fluid motions of guitar solo and the manic yells and cries of vocalist Don Doty emphasize this monolithic immobility; leaping forth with the liquidity and freedom of pure contrast embodied in sound.
An absolute favourite technique of mine on show here is to begin a guitar solo with a sudden moment of total or comparative silence, before the band begins anew with the crushing sensation of a mountain dropping on your head - the remorseless heaviness and power of the music emphasized to almost unbearable levels.
See "Hunger of the Undead" and the title track for two absolutely magnificent examples. Even when the band slow down, this precise sense of anchored movement remains to batter and annihilate, tightly wound and furious. Case in point: the centrepiece riff, a churning tonic gallop that twists out into fierce and deadly shapes before crashing back into place with a fearsome sense of inevitability.
This album is just such a monster on all levels, so over-the-top and devastating it simultaneously typifies thrash and goes hurtling far beyond it. Here, the scaffolding of thrash is seen to twist and mutate; the fast and aggressive riffs and drums moving to yet another level of speed and rage, swelling into a new entity entirely.
It's so good that whenever I try to write a review like a normal person, I start tripping over adjectives and knotty phrases left, right and centre, in a futile attempt to encapsulate this In my book this is a true work of art, and deserves its reputation. And it doesn't hold back either. This album is thrash metal at its peak in terms of raw speed, anger, and brutality. It easily manages to outdo Pleasure To Kill and Reign In Blood and is probably the best album of … and the best thrash metal album to be released until when Vio-Lence released Eternal Nightmare.
First of all, I'd like to start with the production. People criticize the production, saying that it is awful, seems rushed etc etc. I'm not going to defend the production by saying that its top notch. But you know what? What was supposed to be the biggest flaw of A Dream Of Siam - Gary Numan - I, Assassin (Vinyl, LP, Album) album is actually one of the things that make this album what it is.
The supposedly flawed production creates an atmosphere that is second to none when compared to the other thrash albums released in the period. The raw, choppy, and downright filthy guitar tone creates an aura of total confusion and mayhem. Darkness Descends was a huge improvement over We Have Arrived. We Have Arrived had a juvenile and uncaring attitude as far as the music was concerned, but things changed in Darkness Descends.
When the drums kick in, in the opening track, you can feel the earth shake beneath your feet. Far more sick and twisted than everything else released in Just compare it to the original version of the song that featured in We Have Arrived. The guitar work is not to be taken lightly. The riffs sound primitive and immature at first glance, but they also lend a strangely epic feel to the album. Every song seems to be leading up to a high climax, similar to most power metal albums.
The climax I spoke of never actually comes. In fact, the entire album seems to be building up to something which never really comes. A good way to describe this album would be a masturbating session!
Every song ends just before you are about to experience an earth shattering orgasm, after which your organ shrinks and you have to start over again. There is nothing like the driving sound of the bass guitar to pick up a song, and the bass work in Darkness Descends blends in perfectly with the music. The bass has a clunky sound which I really dig, and this adds to the charming sloppiness of the album.
It may not be the best song from the album, but it stands out because of its length and its slightly slower tempo.
And Darkness Descends does exactly that. One of the best thrash metal albums ever made, and the first thrash metal album to deserve a perfect score. Recommended to fans of thrash metal. Fans of early death metal might find something to enjoy too in this album. In truth, this is one of the biggest exaggerations in metal. What it really is is a massively over-rated, dull, boring, childish piece of tripe.
I listen to a lot of thrash, and I love the majority of it. The primary, over-riding criticism is how repetitive it is. Every element of the music almost never varies or changes, so the whole album blends into one big mess of down-tuned, indistinguishable riffs and poor vocals.
The rest is no different. The vocals are equally bad. Your basic low-grade thrash fodder, belted out at high speed in an attempt to sound extreme. Same for the drum work too. As with the vox and riffage, it all sounds exactly the same, just a constant beat that almost never changes. All these elements together conspire to make an insipid, uninspired mess. Totally bland and lifeless. It may seem brutal and amazing at first, but it very swiftly wears thin.
That and "Black Prophecies", which actually stands out a bit, the only real highlight. It had variation and intelligence, and most importantly the band knew how to write an actual song by that point, rather than Los Niños De Colores irritating stream of noise. Without those aspects, it comes across as stupid and trying much too hard.
There are so many bands that do this brand of thrash better: Morbid Saint, Torture, Rigor Mortis, Destruction, Sodom, the list goes on. Good thrash shouldn't put the listener to sleep. The style they use to death might work for one track, but a whole album? No thanks. All the songs follow the exact same structure, without anything to break up the monotony. No shit! Gene said it himself in the liner notes for Time Does Not Heal, to wit: " So what do you expect from a 'mom's favorite album'?
Brutality, apparently and riffs down yer fuckin' throat! Let's analyze one by one shall we: 1 Don 'Fucking' Doty, the madman on vox.
Without a doubt, he is the best singer D. A ever had. Yeah, Rinehart has his moments but he ain't got nothin' on Doty's frenetic, possessed delivery. Check out "The Burning of Sodom," how the hell does he remember the lyrics? I mean, the lyrics were penned by Hoglan. How does he remember the lyrics AND sing that fast? I don't know, but it's a shame he didn't stay for the band's future efforts. Throughout the album, the tempo never drops below 'too fast my ass' and dammit, these guys just keep on going!
The Burning Of Sodom - Dark Angel (3) - Darkness Descends (CD riffwork is absolutely fantastic, check out the pre-verse riff of the title track, the one after the part Metallica stole, oh lord in heaven!
The instant I heard that, I just headbang and windmill until my neck hurts like a bitch! And just when you think the guitars can't be any better, here comes the solos! Sure, technicality and overall tonality need not apply and when you take them out of context, it sounds like some doofus 'shredding' at bpm. You can actually listen to him throughout the entire album, he's mixed louder and clearer than the guitar for some reason.
His playing is pretty damn great, check out the intro to "Merciless Death" and the double bass part in the title track. You know this man means business! Yahn is definitely the kind of guy metal needs. You know what? I think Hoglan is kind of like the Terminator. Only, instead of killing people with weapons, he kills people with serious drumming skills. He is a robot sent from the future to make sure that any album he's involved with owns.
Hoglan's drumming pretty much kills whatever everyone was doing at the time too bad he only did lights for slayer, imagine if Hoglan was in Reign in Blood! Flawed because everything is so damned muddy and it sounds like it was mixed in a hurry. Perfect because in spite of that, there is nothing wrong with it. You can hear all the instruments clearly and it fits the mood of the album.
I'd consider this album for one of the best produced metal albums. It's that good. So is this the best brutal thrash album ever? Should you get it? This is D. The year is something that any thrash metal fan will bring with him in his heart I think. At the time I was one year old but through albums like Reign In Blood, Master Of Puppets and this awesome Darkness Descends, I can still feel those emotions for a genre that was reaching the top in inspiration, technique and violence.
Really, if bands like Metallica, Anthrax and Megadeth were more melodic; Slayer and Dark Angel in that year were like two bulldozers at full speed towards hell. The power of this band is unbelievable, at the point of having lots of discussions about the supremacy of Slayer or Dark Angel in this field.
This is also the very first Gene Hoglan album, that after a tour as a simple technician with Slayer, decided to play the drums in Dark Angel. His style is already recognizable and personal with lots of powerful up tempo and fucking fast beats with his double kicks. The title track, after a small dark march is an explosion of anger and malevolence.
I mean, how could they play lots of notes so fast?! The bass is hammering behind that wall of brutality done by the drums. Forget completely the speed metal tones we found in their debut. This is thrash metal with balls.
The bass part at the beginning is famous. The way he play the drums is unreal. To continue the long journey to hell, we can find a tribute to Nostradamus and his prophecies, this time even gloomier and real thanks to this brutal sound.
This song shows different approaches, from the most brutal ones to the gloomiest. The wha wha solo on it is awesome. This is brutal and this is where it all began. So I suppose I'd better add to the already brimming pile of Darkness Descends reviews, but what to add that hasn't already been drooled over? Well even a Urbaine Ekole - Ekole Urbaine* - Magnum Opus (CD, Album) glance over the review titles below will convey the reputation of this album, and musically this is wholly worthwile.
Certainly the cherry on the cake of the legendary thrash releases of '86 wow what a metaphor! What needs to be said of the sheer riff madness crammed in to this record can be read at length in several other reviews, and I would echo every word in that this is perhaps one of the most flattening bludgeons of metal riffage that will ever invade your ears.
It should also be reiterated, if said before, that combined with the sheer ferocity of the songs instrumentally, they are also deceptively catchy and memorable, both in the riffs department and the vocals as well. Of course, it would be enough of a gift to have a non-stop battering ram of brutality, but I prefer to listen to things that have some melody and catchiness also, even in the area of raw thrash metal, and thankfully this is another marked attribute here - after just a few listens you will be able to remember a lot of the vocal lines as well of course as some of the legendary riffs, like the opening riff of the title track - how much more iconic can you get?
So surprisingly enough there is melody and memorability fused with the aggression, which for me and I'm sure many others is important. So all this being said, I should mention my only gripe with this record, which is actually quite a significant one. That is, I really cannot get used to the production! I've tried to convince myself that its "raw" nature is to be expected from the genre, and yet I don't get half the same disappointed feeling when listening to other albums like Pleasure to Kill, whose rough and raw production I love.
On Darkness Descends however, there is a certain lack which I find it hard to get used to, and it actually damages the amount of plays this record receives, which is a big shame.
The guitar tone is not eye opening at all, indeed little short of flat and distant, the vocals are ok but sometimes lack power, and overall the whole seems too much of a blur of echoy sound to convey the full riff mayhem that deserves to be conveyed. Even though the brutal aggression might differ, I would prefer more crisp production like that on Bonded By Blood or Coma of Souls, if only to fully appreciate the amazing guitar work.
Even so, my point about good raw production regarding Pleasure to Kill suggests that this isn't the issue. My main dissapointment production wise is the drums, whose bass drums I can rarely discern - a big flaw because again Gene Hoglan's performance deserves to be enjoyed in full in-your-face battering ram style, not buried somewhere between the bass and the fuzzy guitars.
Now most people will probably tell my to stop whining like an In Flames pussy, and largely I agree - I try not to let the production affect my appreciation of this album, as it is one of the best thrash metal releases of all time. I suppose I really have shamed myself by chipping at this album's megalithic surface, and for that I only hope that more Dark Angel headbanging will be my redemption! Enjoy the album, enjoy it in its entirity, and try to ignore the sloppy production!
Tight cheetah and leopard pattern spandex seems to be painted on every girl and guy, fat or skinny, and songs about sex and riding really fast in your car choke the airwaves.
Trapped in the glam capital is Dark Angel, a five-piece that carved a path from obscurity first with a few demos, then in announced We Have Arrived with a five-song ep. Over time, many came to regard these recordings as not-yet-personalized, drawing board rough takes populating every band's archives. Such existence came as its title suggests, hotly advertised via full-pagers in zines big and small, which is one of the best ways an indie label can show confidence in a new signee.
The title cut squeals from silence with a heavy methodical gait that peers ahead with primordial warning. Discipline collapses into savage wilderness, and rangers untrained or weak in thrash survival are glad just to crawl free from its brambles its lyrics, however, are anything but rustic.
While Mr. Produced by Randy Burns with just the right amount of distortion and fuzz without sounding underproduced. Its heaviness drops like an anvil. Okay, not quite, but still This right here is THE thrash album to end all thrash albums. Brutality, heaviness, songwriting skill, and of course more of a riffs onslaught than any FIVE other brutal thrash classics Torture Squad It's that fucking monkey-smashing good.
It is so completely be-all-end-all genre-defining and amazing, that I feel unworthy as a human being simply because I don't rape and kill not necessarily in that order 30 of my fellow humans and send the bodies to Gene Hoglan every morning, just as a thank-you gift for this album This is the sound of armageddon right here You will not make linear sense of this.
This transcends ordinary "Coma of Souls" thrash, where each riff is distinctly identified as music, and carries the weight of its past, from Sabbath to Priest Thrash, you worthless, ignorant sluts.
When you look deep down inside, this is a thrash album The riffs alternate fast and slow similar to any other - Slayer, for instance, or the aforementioned Kreator - it's just that slow is fast, and fast is "too fast my ass". Then of course the classic fucking "never slow down, just switch it up" thrash breaks of Perish in Flames, Hunger of the Undead, et al People ask me Just look here, kids. This thing takes Hellhammer and Possessed out behind the woodshed, and teaches them a thing or two about evil.
And that's saying something because Hellhammer and Possessed aren't exactly shit bands The world stands ancient, showing her age There is none higher than this You're gonna fucking DIE, big-time. Here comes the pain. Marduk, suck your Panzer Division Feces out your ass, because Merciless Death is heavier and faster and harder and more over-the-top than you, and doesn't even resort to self-parody to do it.
Fucken A, that's accomplishment right there. Damn fucking right, this is metal Many have tried, and many have come close, and made lasting, classic impressions nonetheless Then, on a completely different plane of existence, there is Darkness Fucking Descends. This must be taken to a new context, that of the Genre Definer Nothing since has come close. Not Panzer Division Norsecore. Not actually enjoyable albums like Death's Scream Bloody Gore, Torture Squad's Pandemonium, or Demilich's Nespithe - all excellent albums, but Darkness Descends predicted, preceded, and generally made those albums obsolete even before they began.
Who's got the most riffs? Black Prophecies, that's who - listen to that middle section, with the well-timed slow okay, only bpm part, where each riff carefully morphs into the next one, while your upper spine region contemplates armed insurrection against the atrocities inflicted on it. That's Perish in Flames for those keeping track at home.
This is not a pretty album. There is precisely one melodic passage, precisely one nod to Judas Priest and past restraints and normal human sanity - and that is the solo in Death is Certain, Life is Not. The rest is ugly, and makes Reign in Blood sound like leftist hippie rock. This is the album by which you go and kill your political enemies When you listen in the privacy of your own home, you will light things on fire and flagellate yourself with your refrigerator.
Black Prophecies 7. Perish In Flames. Durkin] [- E. Meyer] [- J. Meyer] MORTIS Decaying, the ruins fall swift to the ground The carnage is morbid and great Mephitic deathstench of corpses abound The earth meets an untimely fate The horrific malignance, spreading its wings Across the expanse of the sky Contamination and all that it brings The judges commit genocide Retaliation, a useless ploy We've gazed into the face of fear We know that it stands for our own bitter end The end we realize is now here The claws of denouement grasp at our lungs Asphyxiation rules supreme The future of mankind cut down while they're young Our children die clutching their dreams Skeptics failed to heed the call Of angels sent to tell Of the impending death to all In blazing city hell Consorting with the demons craft The ways of god repelled Burning cross, cause to laugh Lot, the one expelled [Chorus] [Guitar Solos:] [- E.
Durkin] The sufferer's impalement Inside the city gates Worshipping the unholy Epilogue The masters of all hate The flag of the inverted cross Menacing, held high Laughing at the "holy cross" At twelve, the virgin dies!!!
One righteous family did escape The family-father lot Sinful daughters succumbed to rape Not as holy as thought!!! Mankind throughout eternity Built on evil's designs The resilience of iniquity Lives on in christian minds [Chorus] 3. A laughing stock Garlic Breath Tosser (Trance Generators Remix) as I walk the earth Vindication laughs at my rebirth Or will I be a victim of the thing Commonly known as eternity??
Eternally black In limbo I'm trapped In silence I sound a plea Light is no more I feel not a thing Undead, I need to break free Listen The silence deafens all the unheard screams The darkness rips away all the unseen dreams Numbness shrouds my soul I'm left to roam Paralysis now my only home Spiritual planes do not exist Life in this realm I will resist And break these bonds - These chains that lock my soul Watch my growing fire burst through the wall I need to grasp the earthen world again Onto the realm of humans I'll ascend Hunger Of the undead Now if my soul is mine then why will you not let it be free??
I wonder When this will all end To live in this shell makes me laugh at religious disease Who'd think that There's no hell or heaven?? Only an absence of god and no Satan supposedly fell A spirit's Reincarnation Is the proof of no heaven or merciless torment of hell Meyer] I walk through life's door I'm frightened to see A determined fate is now in store for me A leper I stand A pitiful scene Martyred, by my impiety Believe me The vicious circle has triumphed again And now a life of agony I'll begin The fates have dealt the hand I'm set to play A losing situation in every way I know I'm meant to be An outcast from society And live my days banished from the race Reborn into this life of much disgrace My soul is set to live in disrespect Karma's retribution - life's reject!!!
We'll give you merciless Stand up and bang, till you fall to the floor The sound is so deafening, it can't be ignored The place is burning, your minds are destroyed Devastated and helpless, you're left here to die [Chorus] [Guitar Solo: E.
Why Me, T.V. Ceasar - Procol Harum - Grand Hotel (CD, Album), What Do I Mean, Im A Believer - Neil Diamond - Im A Believer (Vinyl), Ceremonial Oath - Carpet (Vinyl, LP, Album), ليلى جمال - يا دلال عليك (Vinyl), Purple Rain - The Artist (Formerly Known As Prince) - Mountain View (CD), Offane