Infernal Majesty – None Shall Defy (1987)
Despite the cartoonish artwork which adorns their debut album, Infernäl Mäjesty were an undeniably savage act and they made an immediate impact on the underground with the release of None Shall Defy.
Infernäl Mäjesty specialised in the sounds of the underworld and had more in common with the unholy terror of Slayer’s Hell Awaits and Possessed’s Seven Churches than anything released by fellow countrymen Exciter, Anvil and Annihilator.
A key release in the ongoing development of death metal, None Shall Defy‘s march towards Satan came replete with a vile and ultimately evil aesthetic; one characterised by the unnerving sounds of blackened death/thrash perfection found on “S.O.S” and the scintillating title track.
Don’t let the sub-par cover art fool you, Infernäl Mäjesty meant serious business…..the devil’s business!
Kreator – Pleasure To Kill (1986)
his precociously vicious shitstorm instantly struck a chord with thrashers worldwide and with Pleasure To Kill, Kreator found themselves leading the way in the Teutonic scene. Unhinged to the point of incarceration, Pleasure To Kill‘s track-list borders on a greatest hits selection with the wall of noise maelstrom of “Ripping Corpse”, the unforgettable “Pleasure To Kill”, the death metal influencing “Riot Of Violence” and the epic and surprisingly complex “The Pestilence” all meriting classic status.
An inspiration to countless bands, death metal and grindcore legends Napalm Death covered “Riot Of Violence” and even they couldn’t match the intensity and ferocity of its original incarnation!
Kreator altered the German thrash landscape with Pleasure To Kill and frankly, mayhem of this calibre never sounded so good again!
Holy Moses – Finished With the Dogs (1987)
On an album that never fails to impress, it was the attitude of Holy Moses that hit hardest; a fearless, punk and grindcore-infused, middle-finger to the face of mainstream sensibilities that set them miles apart from many of their contemporaries.
Each track snapped and snarled but it’s “Current Of Death” that hit hard enough to put you into a coma (Death Angel nicked Sabina Classen’s irrefutably catchy “whoah, whoah, whoah” delivery on 2004’s “Thrown to The Wolves” incidentally) while “Fortress Of Desperation” settled into a groove that’ll have you bangin’ ’till you puke.
In 1987, these dogs didn’t just bite, they sank rabies-infected fangs deep into your neck and tore out chunk after chunk of bloodied flesh; brutal, uncompromising and utterly feral.
Growl. Grrr. Woof!
Morbid Saint – Spectrum Of Death (1990)
Morbid Saint‘s Spectrum Of Death is an unapologetically brutal and viciously violent attack on the senses and arguably the most brutal 100% thrash album ever recorded!
Clattering drums, rapid riffing and vocals belched from the gullet of a Satan-obsessed psychopath, Morbid Saint were the perfect combination of Dark Angel‘s all-encompassing power, Whiplash‘s speed and grit and the blackened riffing of those teutonic masters, Sodom and Destruction.
Few bands could compete with the intensity found on Spectrum Of Death and if your heart bleeds black for Venom, early Kreator and Darkness Descends era Dark Angel then tracks such as “Assassin” and “Beyond the Gates of Hell” were ample proof that Morbid Saint should sit proudly alongside these legendary purveyors of pure filth!
Possessed – Seven Churches (1985)
On their debut album, pioneers Possessed took a cut and paste approach to their music by incorporating the viciousness of Venom, the speed of Motörhead and the thrashing, atonal guitars of early Exodus and Slayer.
The result was an innovative and primitive thrash metal sound which came to define death metal. “The Exorcist”, “Burning In Hell” and “Seven Churches” are held together by Jeff Becerra’s unholy roar, simultaneously aping Lemmy from Motörhead yet producing a guttural tone that would go on to be the bread and butter of death metal.
Possessed take the honour of inventing death metal on their debut album. This is constantly up for debate but we’re standing by it; no Seven Churches, no death metal. That’s how heavy this thing was!