UK Thrash: The 10 Greatest Old-School Sophomore Albums

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We have selected what we believe to be the 10 greatest old-school sophomore albums in UK thrash history. Second albums; difficult for some….but not for this little lot!

Presented in order of release as opposed to any kind of ranking.

Onslaught – The Force (1986)

Released: May 5th 1986 via Under One Flag

The first band to truly raise hell in the name of British thrash, Onslaught turned heads with their punk-infused debut, Power From Hell, but it was with 1986’s The Force that they truly announced their arrival in the scene.

The Force was an appropriate title, as Onslaught‘s forceful and vitriolic sound hit you like a ten ton hammer; thrashing harder than most and with as much conviction as the likes of Dark Angel and early Slayer.

Still considered an all-time thrash classic, The Force is probably the most convincing thrash album ever recorded by a British band. Capable of ripping your head clean off, Onslaughtwere a powerhouse who unleashed a multitude of sinister, stabbing riffs without even breaking a sweat. It all seemed too easy and their place in the thrash elite should have been virtually guaranteed.

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Deathwish – Demon Preacher (1988)

Released: 1988 via GWR Records

How the actual fuck were Deathwish not bigger?

With opener “Death Procession” leading us on a morbid march through bell-tolling, doom-inflected pathways, the classic sounds of 70’s UK heavy metal soon meets the crunch of Bay Area thrash on the Slayer-esque title track and Deathwish’s inspirations are immediately apparent.

A marriage made in heaven (or should that be hell), this juxtaposition of the UK’s world-conquering 70’s output and the equally successful US thrash sound pioneered by Metallica, Slayer et all is best exemplified on Deathwish’s gritty thrashed-up reworking of Sabbath’s all time classic, “Symptom Of The Universe”. Cover version’s by their very nature are generally disappointing but this updated version of Iommi’s classic riff-fest for a thrash audience remains recognisable but utterly feral.

However, the 70’s worshipping song structures weren’t all Deathwish had in their locker, “Wall Of Lies” and the unfathomably epic “Prey To The Lord” were a sonic boom of rabid riffing fulfilling the hype this underrated band had once generated. A nod to the future and a nod to the past in essence, Deathwish were happy to complete the circle by closing with the acoustic Zeppelin-esque instrumental “Past Life”, restoring balance and a sense of closure in the process.

As a coherent whole, Demon Preacher should be considered a minor masterpiece, the sounds of the pioneering 70’s combining flawlessly with the fresh and vital thrash attack from across the Atlantic. Rediscover it!

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Virus – Force Recon (1988) 

Released: April 1988 via Metalworks

Perennial underdogs of the UK scene, Virus proved their worth with their second album, Force Recon. 

Thispunk/thrash overload from one of the UK’s most violent band of thrashers kicked even the most hardened thrasher square in the mush when it was released in 1988 and the arrival of guitarist Coke Finlay appeared to light a considerable fire up Virus‘ collective arse!

To say that Force Recon was an improvement on debut album Pray For War would be an understatement. Fast, savage and punky as all hell, the production may be shite but the songs shine through with the likes of “Testify to Me” and “Viral Warfare” proving particularly potent

Just a little good, friendly, violent fun….UK style!

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Anihilated – The Ultimate Desecration (1989)

Released: 1989 via Metalworks

Anihilated‘s second album is a British thrash milestone, incorporating Exodus‘ brash brutality and Slayer‘s knack for intimidating menace and groove to form an album worthy of serious attention.

The grisly grooves of instrumental “Desolation” set the scene as Anihilated‘s malevolent, sickle-sharp riffing crunches straight into high gear on “Into The Flames Of Armageddon”. The album never lets up from here on in; quality track follows quality track with raspy, sandpaper vocals, wall-of-sound drums and Hell Awaits era Slayer riffs combining furiously to thrash your face clean off.

The Slayer comparisons can be a little too familiar at times but if you’re gonna be inspired, be inspired by one of the best and if being the British Slayer is a bad thing, then we’ll be damned!

Of all the bands to arise during thrash’s recent re-birth, Anihilated truly showcased the breadth of talent the UK have to offer, culminating in Anti Social Engineering, one of the finest UK thrash albums ever recorded….and we ain’t fuckin’ kidding….this album absolutely slayed the competition in 2015!

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Pariah – Blaze of Obscurity (1989)

Released: April 15th 1989 via Steamhammer

A classic sounding thrash band before the term could even be applied, there was something inviting about Pariah’s thrashed up New Wave Of British Heavy Metal based output; of which Blaze Of Obscuritywas their finest hour.

Formed from the ashes of NWOBHM heroes Satan, Pariah would go on to donate Graeme English and Steve Ramsey to Skyclad but first came this magnificent slice of melodic thrash magnificence. The perfect companion piece to Onslaught’s equally ambitious In Search Of Sanity, Pariah’s astonishing array of complex riffs and expansive song writing should have found them beloved the world over.

As it transpired, Pariah were treated in a manner befitting their name and split after just two short years.

However, Blaze Of Obscurity is so ridiculously accomplished that it deserves nothing less than total reappraisal and should be considered a benchmark for 80’s speed metal and thrash metal guitar work.

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Sabbat – Dreamweaver (1989)

Released: May 15th 1989 via Noise Records

The second full-length album from British pagan thrashers Sabbat swiftly followed their outstanding debut, History of a Time to Come, and this all-time classic follow-up ventured ever further into singer / lyricist Martin Walkyier’s strong interest in Wyrdism, Celtic mysticism, Anglo-Saxon spirituality and paganism.

Dreamweaver –  a concept album based on the 1983 book The Way of Wyrd: Tales of an Anglo-Saxon Sorcerer by British psychologist Brian Bates – ably demonstrated the sheer poetry conjured by this most unique of thrash bands. Not least in Walkyier’s expansive lyricism but in Andy Sneap’s ability to conjure magic from his epic and progressively technical compositions.

“The Clerical Conspiracy”, “Wildfire”, “Do Dark Horses Dream of Nightmares?”….. all solid gold (but then you know that already)!

Exceptional doesn’t quite do this album justice.

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Acid Reign – Obnoxious (1990)

Released: April 30th 1990 via Under One Flag

A UK band known for often embracing the sillier side of thrash, Acid Reign reigned in the lunacy on their second album, Obnoxious, and the result was an album that embraced a previously untapped progressive edge; proving, once and for all, that us Brits had what it takes to step up to the next level.

Slowing down, slightly, ‘H’ and co. adopted a more focused attitude on Obnoxious, imbuing their intricate riffs and biting lyrics with a keener eye for detail and the results were impressive to say the least. 

“Thoughtful Sleep” remains a highlight; a technical excursion into a story of child neglect which surprises with its schizophrenic time changes and multiple personalities. Intelligent, complex and highly original, in an ideal world this song alone would have elevated Acid Reign into the big leagues.

As it turned out, they were unjustly overlooked and imploded shortly after Obnoxious‘ release….but they’re back now!

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Xentrix – For Whose Advantage (1990) 

Released: August 21st 1990 via Roadracer Records

Touted as the UK’s answer to Metallica (not quite), Xentrix embraced an Americanised sound which should have seen them rapidly rise to the very top of thrash metal’s ranks.

In reality, their relatively ‘safe’ sound was only ever going to take them so far, and they eventually found themselves lumped in with the plethora of identikit bands who arrived late in the thrash game. Sadly, it’s only with the luxury of hindsight that For Whose Advantage? reveals its true worth and it’s undoubtedly an essential addition to any thrash collection.

Cold, crisp riffing, mid-paced thrashing and Chris Astley’s confident bellow elevated album highlights “Questions?” and “The Bitter End”, and the entire album benefited from a crystal clear production job to rival the genres greats. For Whose Advantage? may tread familiar territory but it’s important to note that there’s nothing wrong with reliability – Motörhead and AC/DC built entire careers on it! – and Xentrix were fast becoming Britain’s most consistent band.

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Seventh Angel – Lament For The Weary (1991)

Released: 1991 via Edge Records

The UK seemed to enjoy experimenting with thrash, often combining seemingly disparate sub-genres to create an entirely new thrash experience. Sabbat and Skyclad incorporated pagan and folk influences, Cerebral Fix and Energetic Krusher embraced death metal while Seventh Angel chose to throw doom metal into the mix. The result was an original sound showcasing the finest moments of doom legends Candlemass and the technical meets traditional heavy metalthrash of Sanctuary, circa Into The Mirror Black.

Often impenetrably dark and yet morbidly melancholic, Seventh Angel‘s lumbering doom passages merged seamlessly with bursts of aggressive speed, fully ensconced in projecting pain and despair. Not an easy ride but a rewarding one, Lament For The Weary remains a weighty tome, relentless and remorseless and akin to gourging on the great works of literature; not for the faint-hearted in other words!

The UK may have been largely forgotten for its contribution to thrash but albums as brave, bold and brilliant as this will always attract the open minded. Lament For The Weary is a one of a kind album fully deserving of classic status and should be spoken about with the same reverence as the greats of thrash, UK or otherwise.

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Skyclad – A Burnt Offering For The Bone Idol (1992)

Released: April 8th 1992 via Noise Records

Before they went 100% folk, Skyclad followed up their outstanding debut The Wayward Sons Of Mother Earth with another slab of underrated – and hard to find – unique UK thrash. Continuing and refining the uniquely pagan sound Sabbat pioneered on their groundbreaking albums History Of A Time To Come and Dreamweaver, this may be a love it or hate it record for thrash fans but those with an adventurous spirit -and a penchant for bands who gleefully experimented with thrash’s rigid rules – will hear Skyclad adapting the formula to create something idiosyncratic and distinctly British.

The addition of full-time fiddler Fritha Jenkins (we simply refer to the act of playing the fiddle of course) bolstered Skyclad‘s sound that was still built around Martin Walkyier’s distinctive vocal delivery and a multiude of rapid-fire thrash riffs. Take the aforementioned irresistibly thrashy “Salt On The Earth (Another Man’s Poison)” as the perfect example of thrash existing in a folk metal framework; few could pull off such a disparate melding of styles but Skyclad, particularly on A Burnt Offering For The Bone Idol, mastered the craft.

Interestingly, Skyclad‘s The Wayward Sons Of Mother Earth and A Burnt Offering For The Bone Idol remain the perfect companion pieces to Sabbat‘s two Walkyier fronted classics; an exquisite quadruplet of frighteningly original albums which deserve arrant adulation.

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