Rating: 7.6 Release Date: 2006 Record Label: Evil Legend Records Track list:
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Death Militia - You Can't Kill What's Already Dead
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| Dave Read- guitar on all tracks Steve Mills- Bass on tracks 1-11 Dave Bracewell- Vocals on tracks 1-7 Dale Kennedy- Guitars on tracks 1-5 & 8 Jason Marsden- Guitars on tracks 6-7 and 9-11 |
Corey Toll- Drums on tracks 1-11 Evan Wilson- Vocals on tracks 12-15 Robb McVean- Drums on tracks 12-15 Bruce Taylor- Guitar on tracks 12-15 Mark Faria- Bass on tracks 12-15 |
Having cemented Evil Legend Records as one of the leading lights in heavy metal distribution in North America, it appears that Tim Evil Legend has stuck his bloodstained fingers into another jar. This release marks Tim's virgin foray into the record biz, a complete compendium of Toronto thrash squadron Death Militia's heretofore unreleased demo material that, for all its faults, remains an admirable portrait of a band that, while at times deficient in quality, never lacked in the spirit, ability or attitude that characterized and defined an unforgettable epoch in heavy history.
For all the complaints that can be lodged against some of the collection's apparent flaws (the fare vacillates between being somewhat forgettable at worst and sublime at best, the huge chasm between the two extremes leaving a somewhat awkward impression on the listener), there is no disputing the fact that these guys could PLAY. While it would become more pronounced afterwards, the band, from 1986 onwards, harnessed a tight and focused sound that flaunted a plucky assertiveness uncharacteristic of such fresh-faced teens. The band exhibit a riff-oriented, schizophrenic style that isn't entirely removed from the early Legacy material and Testament's first record, though not quite as dynamic or sophisticated, peppered with distinct shades of 'Ride The Lightning' Metallica (most obvious on the chugging, downtuned “On The Eighth Day”), a somewhat formulaic approach that is redeemed by the band's gung-ho affinity for reckless riff-flinging ala 'Forward To Termination' Sacrifice.
Not all of it sticks, and admittedly some ideas are positively redundant, but when the band strike gold they tap a vein that has been bled by thrash's a-list- “Forgive Me Father” alternates between staccato, exquisitely punctuated riffing and choppier fare, between dark, brooding, nefarious chords to more tuneful, eloquent material to great effect, incorporating a host of Shermann/Denner flavored twists that add great piquancy to the sonic stew. The Fate comparisons become even more prevalent in what I feel are the true highlights of this platter- the breathtaking quartet of rehearsal tracks triumvirate of rehearsal tracks from 88 (“The Unknown Epic”, “The Future In Question” and “Rocket's Red Glare”) that truly capture a band at the peak of their creative powers. The jerky transitions that characterize the band's earlier output are less apparent here, though the material is noticeably more attention-deficient than ever before here, the band ploughing 'Don't Break The Oath' territory for inspiration and incorporating Shermann/Denner pyrotechnics into a hectic, amphetamine-fed, unrelentingly intense approach, the net product coming off like an amalgamation of 'Evil's Message' being played with the philosophy of 'Into The Abyss' and the scope of “Orion”/”Call Of Ktulu” (though not quite as accomplished). The level of invention reaches a new plateau here, the band playing with a simultaneous tightness/abandon that is outstanding, each member of the band asserting his identity in the sonic space afforded to them (bass work, especially, is outstanding…the solo that materializes 5 minutes through “The Unknown Epic” is sublime in a Burtonian sort of way). “The Future In Question” flirts precariously with clumsiness at points, but the splintered shards of schizophrenic staccato riffing bristle with an energy that is undeniable, while “Rocket's Red Glare” sharpens the band's rifforama approach to a finely-honed point.
It is interesting to note the considerable stylistic metamorphosis that the band undergoes throughout their brief career- interestingly enough, the band's earliest material is sequenced last on the disc, and the considerably sloppier, rawer 1985 material suggests a direct aesthetic parallel to 'The Exorcism', replete with fervent, impassioned Urbinati-esque shrieks, cantankerous, haphazard drumming and buzzsaw, piranha-esque guitars. This is unquestionably the most Canadian sounding fare on this platter, and while I cannot help but admire the degree of barbarism and single-minded ruthlessness here, the fare here isn't terribly interesting in the grand scheme of things, the 'Endless Pain'-cum-'Show No Mercy'-isms already well-trodden by a number of more accomplished bands. That being said, “Trial By Fire” is a worthy example of murderous, marauding, unrestrained black/thrash that stands up better than the other tracks on the demo, epitomizing a frayed-at-the-edges, crusty, unmistakably Canuck rawness that defines everything from 'The Full Treatment' to 'Surrender Or Die' to 'Dead Brain Cells'.
A bit of a mixed bag, but in all earnesty, this is FAR, FAR better than one might expect from a band that, prior to this release, never enjoyed any of the accolades afforded to more "cult'' alternatives like Canadian Dissection, Yog Sothots, Treblinka, Voor etcetera. I am firmly convinced that Death Militia are better than most of the aforementioned outfits (of course, not many things are quite as great as “Evil Metal”…) and, if they had continued foraging along the path blazed by “The Unknown Epic”, the lads might have scaled rather dizzying heights! Alas, fate is cruel, and we can only ponder on the promise suggested by this band. A worthwhile, albeit slightly inconsistent flagship release from Evil Legend Records.
: Anthology 1985-1988