Buenas hoy les dejo con ustedes la tapa de un discazo de estos Thrashers Alemanes, se trata del disco Zombie Attack de Tankard una verdadera "Master Piece" del Thrash Metal, un disco clasico que todo Thrashero debe a ver escuchado alguna vez,un disco muy poderoso unos riffs que te quedan dando vuelta por bastante tiempo aunke sea el primer disco es uno de los mejores de Tankard Etiquetas: www.
Solo escuchen este disco Rock the World 2. Power Metal 3. We'll Meet Again 4. Over and Out 5. Proud to Be Loud 6. Down Below 7. Death Trap 8. Hard Ride 9. Burnnn Anthrax - Spreading The Disease []. Publicado por leothrash en 1 comentario:. Sodom - Obsessed By Cruelty []. Saludos Hoy les dejo el primer trabajo del grupo Thrash Metal Sodom! After Ther Deluge 2.
Deathlike Silence 3. Brundish the Sceptre 4. Proselytism Real 5. Equinox 6. Obsessed by Cruelty 7. Fall of Majesty Town 8. Nuctemeron 9. Pretenders To The Throne Witchhammer Wenas hoy les dejo este disco que no necesita mucha presentacion ya que es uno de los mas famosos discos de la historia en el rock, se trata de "" sexto disco de la banda Van Halen y uno de los mejores a mi opinion este disco trae los temas mas conocidos de Van Halen, como "Jump", "Hot For A Teacher", "Panama", etc..
Death Angel - Ultra - Violence. Wenas aki les dejo este espectacular disco de Death Angel, este disco es el primero de estos Thrasheros de San Francisco, se caracterizan por sus poderosos Riffs, baterias demoledoras y vocals revienta cesos, si quieren un buen disco Thrash para hacer Headbanging un buen rato tienen que descargar este disco entonces..
Metal Church - Metal Church. Disc 1 1. Murder 2. Ultra-Motion 3. The Box 4. Denied 5. The Blackest Day 6. King Of The Kill 7. Torn 8. My Precious Lunatic Asylum Disc 2 1. Set The World On Fire 2. I Am In Command 3. Refresh The Demon 4. Kill 1 5. Never, Neverland 6.
Striker 7. Bliss instrumental 8. Phantasmagoria 9. The first 4 tracks edge it for me in terms of pure quality, with 'Ultra-Motion' the absolute stand-out - it just shits all over my brain in all kinds of ways. Waking the Fury can't be called an innovative album, but it is unique and exciting in a way that few other albums can claim to be. It wouldn't surprise me if Jeff Waters turned up in your neighbourhood soon wearing a bulky coat and offering CDs in exchange for cash.
Go ahead kids - say "yes". After the debacle that was Criteria for a Black Widow and the second departure of Rampage as Annihilator's vocalist, Waters found himself in a precarious position. The recruitment of Overkill veteran Joe Comeau on vocals was a good starting point, but 's Carnival Diablos failed to inspire fully from a compositional standpoint. Comeau managed to stick around long enough to head another Annihilator record, bringing us Waking the Fury a year later.
Despite all of the failed experiments and the revolving-door of vocalists throughout the '90s, Annihilator proves on Waking the Fury that they can at the very least write a solid, heavy collection of songs if pressured.
No more humor-infused romps like "Brian Dance", no more overlong patience testers like "Hunter Killer"; everything is compact and lethality exudes from the band's determined approach. This becomes immediately apparent during the opener "Ultra-Motion", which detonates out of the gates courtesy of Waters' electrified picking hand and descending note clusters. Waters produced this album, lending a synthetic, artificial sheen to the guitars that remains one of the album's most memorable attributes.
The guitar tone's awful reputation almost proceeds the music itself, akin to Overkill's W. The guitars' buzzing distortion reminds me of the soundtrack to the PC game Unreal Tournament once set next to some of the more measured leadwork, like during the mid-paced stomper "Fire Power". While it lends a subtle essence of brutality to some of the groovier riffing passages, it devolves into a murky cacophony when the speed picks up.
It is so digital and overdriven that if you listen to Waking the Fury with a good pair of headphones, it begins to make you dizzy and disoriented.
Thankfully, Waters' typically enterprising leadwork features a more classic, flat tone. As per most Annihilator albums, you never know when a screaming solo section is going to fly out of left field, most evident during the exuberant "Cold Blooded". This is a welcome addition to Waking the Fury , because while Comeau is his usual gritty self, he can grow tiring during longer periods. He enunciates some of the words strangely, but the conviction of his delivery is endearing and fairly potent.
As per Comeau's caustic vocals, Waking the Fury doesn't feature any ballads or experimental elements that were more common when Randall was in the band.
It's head-down full speed the entire time, which ends up being both the biggest asset and flaw here. The obligatory addiction-related track "Ritual" also comes off as a bit forced, even while it features a cool spoken-word section near the end. Even so, none of these songs necessarily overstay their welcome, and manage to make a pretty convincing case for the band's continued existence. Comeau's departure after Waking the Fury resulted in more duds from Annihilator's camp, proving that the band lives and dies by the quality of their vocalist.
I can't say that I enjoy this more than Set the World on Fire due to a lack of variation, but it was definitely a massive step in the right direction at the time. They're back! Everyone's favourite band! They seem to get so much hate I'm not innocent of this , but Waters never gave up, and from that I've really built up a respect for him.
As far as I know, he's never released a truly terrible album although I've heard worse than usual things about 'All For You' and 'Metal' , just never a total classic. I think that's my biggest problem with them. Jeff's obviously turned himself around recently , selling out shows after the release of their newest album, 'Annihilator', which is actually really good, and has apparently sold more copies than anything they've done in the past decade. I mean, the biggest mistake here seems to be the album cover It must have put a few people off getting it.
The songs on this album are very, very fast, but sonically much more interesting than the last album, mainly thanks to the new, unusually fuzzy tone of the guitars. The increase in speed and fuzz does the album wonders, and really breathes new life into Annihilator, making them seem less like a tired thrash band, and more like a fresh new side-project.
It also means I prefer the singer's vocals this time around, as he seems more comfortable and suitable with the new sound. The first half of the album is definately the best. Most of the songs have a catchy, easy to remember chorus, and either tend not to totally stink musically 'Torn' is a good example - simplistic industrial metal riffs providing a backdrop for a simple little lead motiff which just works or just straight up kick ass with no questions asked 'Ultra-Motion', 'My Precious Lunatic Asylum'.
Unfortunately the second half, whilst not inherently awful, just isn't as interesting to me. Production is brilliant once again. I was surprised by this - the guitar tone alone would take a tone of work to get to sound right.
Had it been too powerful, the album would have been a horrible mess of noise 'Cold Blooded' would have really suffered , but any weaker, and the album might've just been as boring as the last one.
But they manage to pull it off. A few songs tend to outstay their welcome by an extra verse or chorus, but are worth going back and listening to.
It seems criminal I should give this album the same rating as I did for 'Alice In Hell', because I feel it's way more consistent. But, at the end of the day, it's not handing my ass back to me like it should.
It does, however, make me a little prouder to be an Annihilator fan. Joe was a cool guy. He looked cool, sounded cool, you get the picture. Concisely put, he was not the kind of person you normally associate with the Annihilator vocal chair! Added to that that, Carnival Diabolos had a handful of catchy, well balanced songs. They were technical enough to appease the long-standing Annihilator fans but accessible enough to continue courting that elusive broader fan base that Waters always seems to have his eye on.
For the first time in about a decade, Annihilator felt like a real band and prospects for their second album with Comeau looked good.
It was and metal was starting to become popular again. Would the world finally recognise Jeff as one of the greatest rock guitar players of all time? Ever the musical weather-vane, for once in his life, Jeff Waters decided to forget following the leader and just do things his way. He turned up the tempo, turned up the distortion and shat out an album of aggressive thrusting rocks songs that maximised his trademark insanely catchy riffing, technical melody sections and lots of solos.
Even the production was a departure — a dry, buzzing vortex of tightly compressed noise that grievously assaulted the listener. Within ten minutes, you were banging like a nutter and the overall effect sounded like Iron Maiden being raped by Slipknot while old skool Annihilator looked on… and played with itself!
Something like that anyway. Opener Ultramotion is so catchy, that as a long standing Annihilator fan, to listen to it, is to break out into a big smile and shoot the horns. Based on the impact of this album, it would not have been an empty claim. And Ultramotion was a harbinger of things to come: Torn is one of the greatest tunes Annihilator have ever committed to disk — strident, stylish and hellishly catchy. Striker, Ritual and The Blackest Day are also outstanding and the album rips to a close with the modern and utterly ferocious-sounding Cold-Blooded.
There is barely a wasted heartbeat and not a single duff song. On paper My Precious Lunatic Asylum looks like it might be the kind of duff moment all we fans dread. On your stereo it is a pulsating, stabbing sex-beast of a song complete with a great breakdown for traded guitar solos in the middle and some insanely fast melody parts. So there you have it.
Sadly, it was not to last. Jeff, apparently unhappy with being immense, fired Comeau and guitarist Curran Murphy and then blatted straight into the uneven Dave Padden era. Comeau later expressed in an interview his disappointment at being ousted from Annihilator. It seems he believed there was better to come. I believed it too. While Annihilator never truly split up, they were certainly one of several bands that enjoyed a great comeback when the new millennium came about.
The defining characteristic that seems to stick in most people's minds when they remember this album is its signature production. I personally barely noticed when I first listened to it but I can see why this dry, often "buzzing" effect annoys so many listeners.
It does have a habit of making the guitar playing sound somewhat choppy and may overwhelm a few of the album's catchier moments. Fortunately, the uneasy feelings aren't too challenging to get over and sometimes manage to give the album's sound a unique edge. Musically, this album is probably the band's heaviest and most thrash-centric to date. Just about every kind of thrash is represented including some Slayer influenced speed runs "Ultra-Motion," "Cold Blooded" , more melodic battering rams "Torn," "Ritual," "The Blackest Day" , and a few more ambitious tracks "My Previous Lunatic Asylum," "Striker" thrown into the mix.
Of course, there are plenty of experimental moments left over from "Carnival Diablos. On the other hand, there doesn't seem to be much depth here and a few tough guy-isms are spread in small amounts through the record.
Jeff, I admire your talents but no one will take a line like "intimidation is my reputation" seriously after listening to something like "Chicken and Corn.
All in all, it's a damn shame that this album is so overlooked for it may be one of the band's best efforts to date. Comeau and the other departing bandmates leave on a pretty high note that I'd probably put just below "Never, Neverland" and as one of the best thrash albums to come out in the 's. Of course, that's probably why so many listeners are so bitter towards the ongoing Padden era Pros: 1 Probably the heaviest Annihilator album to date 2 Excellent band performance 3 Good lyrical variety Cons: 1 The infamous production There are no ballads or sideshow attractions to speak of, and very little genre bending going on.
The jury is in and the verdict is that there will be a constant barrage of speed metal with a few occasional thrash interludes for a sentence of roughly 50 minutes, no appeals, and no possibility of parole. It differentiates itself from them quite a lot in the heavily techno-like production, although the actual riff work mostly follows the same simplistic approach.
The lead work is utterly sick, trading in and out different ideas that parallel both K. Downing and David Shankle. To keep the flow of things going, the latter gallops a bit and both songs has a constant stream of double bass work. The two songs on here that actually stand out the most are the ones leave the stylistic trappings of the current trend in speed metal circa and go back a little further.
Originally submitted to www. Sure, Annihilator's first two albums are hailed as masterpieces especially Alice in Hell and while I have to agree to some extent, my favourite Annihilator album is "Waking the Fury". Many people have problems with the guitar tone presented on this album. I can see why, since the distortion is very strange, especially when you know how Jeff usually produces his albums. It took me a while to get over it, but now I realize that it actually fits the album perfectly.
I don't think the rhythm sounds "thin" - it sounds more like Jeff played the guitars with a rather cheap Death Metal guitarpad. It just sounds very raw and somewhat digital. The track is fast as hell and features some awesome lead guitars and soloing. Another good thing on the album is the addition of singer Joe Comeau Ex-Overkill. He really got the balls and the attitude to carry this album.
Sometimes, he sounds like a mix of Lemmy Kilminster and Rob Halford especially in the verses of "Torn" which fits very well to the heavy-as-fuck riffs. There are no ballads here, the album rarely slows down below mid-tempo.
Another strong point on "Waking the Fury" is the kind of riffs Jeff Waters unleashes; I don't think there is a single riff rehashed from earlier albums a problem he often had with the releases prior to this one.
All of them sound unique and great. Drumming duties were taken over by Randy Black Primal Fear and he's really good at his job. The drumming work is stellar and perfectly put into the mix. In conclusion, "Waking the Fury" manages to incorporate oldschool Thrash with modern influences and an almost-industrial like guitar tone, great vocals, top-notch songwriting and the best soloing in the entire Annihilator catalogue I'm not exaggerating here!
0コメント