Rating: 9.3 Release Date: 1991 Record Label: Nuclear Blast Records Track list: |
Death Strike - Fuckin' Death
To say this is one of the best death metal records of all time would be a SEVERE understatement. Few records in recorded history are quite as rabid, ballsy and BLOODTHIRSTY as this forgotten gem, which remains one of the most valued pieces in my record collection. Somehow, the braintrust at Nuclear Blast have forgotten about this record, though death metal tapetraders the world over have exhibited great demand for it. Truly a strange phenomenon, considering the generally incompetent nitwits managed to slap together some great digipak reissues of Slaughter's output some years ago (and in turn righting the wrongs of one greedy Fringe Records executive). As far as corpse-molesting, flesh-searing first wave death metal goes, though, I would say this is absolutely as essential as 'Surrender Or Die' and 'Strappado', and to my mind is only slightly below Master's 'Unreleased 1985 Album' when discussions of BEST SPECKMANN ALBUM EVARRRR manifest themselves among my metal geek brethren. When placed next to the Master 1985 record, there are glaring similarities and, indeed, marked differences between the two platters. Certainly, the 1985 Master debut is the rawest, least subtle work Paul Speckmann has had his name on, and when contrasted with the merciless wash of fuzz, distortion and d-beat blasts that characterized that record, 'Fuckin' Death' seems far more sanitary and accessible, boasting far more developed song structures, a more polished production job and more sophisticated songwriting that bears more similarities with the self-titled Master record. Of course, this means little when one stands this up next to the likes of, say, a Prostitute Disfigurement type pile of nonsense. This remains dirtier, sicker and viler than practically anything that passes for death metal nowadays, a primal Molotov of putrid 'Satanic Rites'-esque sludge grind and d-beat angst that, for me, really epitomizes the filth-crusted fetidity of the best death metal. “The Truth” is perhaps the most blatantly hardcore number on here, albeit with barrelling double bass blastbeats throughout. Speckmann's hoarse-throated, acerbic barks take on a quasi-melodic quality here, as he yelps out what appear to be singalong notes. What ensues is shoutalong anarcho-crust with healthy amounts of rumbling, resonant doubling bass, all with grunt-happy drill sergeant Speckmann presiding as master of ceremonies. Absolute genius, of course. “Mangled Dehumanization” is, of course, the classic Master song that has previously announced itself on the 1985 debut, the second 'Funeral Bitch' demo and the self-titled record, a vintage dose of brutality that remains one of the gnarliest, most bloodstained set of lyrics Mr Speckmann has inked, straying from his outspoken political convictions to plunder gore-metal territory. “Pay To Die” has Speckmann sounding curiously like Cronos after a few shots of liquidated sandpaper, building upon a basis of insistent, rhythmic, pulsating chords and escalating into a flurry of squealing, Hannemann/King type guitar duels courtesy of Messrs. Mittelbrun (who, of course, was also a member of Master at the time) and Miller. I do have to say that the version of “Re-Entry and Destruction” here remains my favourite take on a ditty that has also featured on later Master demos. Simply put, there is a sense of tortured urgency exhibited here that diminished somewhat by the time Master recorded their first effort, something that has become more evident as Speckmann has aged over the years. While many continue to draw parallels between Death Strike and that other famed purveyor of bare, oppressively minimalistic death metal, Hellhammer, “The Final Countdown” provides some basis for comparison, effectively serving as Death Strike's equivalent of '“Triumph Of Death”, though, expectedly, it's a far more sophisticated exploit than ToD (which, for all its shortcomings, remains one of the 10 greatest metal tracks of all time). Wavering between an absolutely CRUSHING, excruciatingly ponderous main riff and more uptempo, thrashy sections, this is Death Strike's masterpiece, a seamless composition that shifts effortlessly between various tempos and riffs to great effect. Of course, it doesn't quite emanate the sense of dread and morbidity that "Triumph Of Death" evokes, but that's hardly the point, because in all honesty, the two bands are worlds apart in virtually all aspects. The remaining tracks don't quite keep up to pace with “The Final Countdown”, though each is a classic in its own right, “Man Killed America” incorporating a twisted take on “God Bless America” into its opening section, “Pervert” displaying a hopelessly infectious primary riff that drills itself into your subconscious (as well as an uber cool mini drum solo that introduces the track), “Remorseless Poison” flaunting a trudging, skulking, lurching bass groove that beckons you to do the grim reaper's bidding. So there you go. An absolute CLASSIC that to this day yields much wholesome headbanging for yours truly, and one that truly belongs in the vaults of every self-respecting citizen of the death metal netherworld. Quintessential death metal from one of the most unsung heroes in extreme music, I say.
|
