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It was 1987, and Living Death had established a reputation as a solid and dependable thrash act. Their EP Back To The Weapons showed them progressing into a more aggressive form of their speedy thrash. Around this time, guitarists Reiner Kelch and Frank Fricke would begin their involvement with progressive-thrash studio project Mekong Delta. After that, Living Death would reconvene and begin work on their third full-length album Protected From Reality.
What we have here is essentially a continuation of the sound they'd found on Back To The Weapons. However, there are quite a few new elements that have trickled in here from Fricke's and Kelch's (R) involvement in Mekong Delta. The more straightforward cuts involve the fast palm-muted single note riffing found in the previous release. Perfect examples can be seen in the violent opening cut Horrible Solution (a.k.a. Horrible Infanticide), Manila Terror, Vengeance (a.k.a Horrible Solution/Infanticide Pt 2) and Eisbein (Mit Sauerkraut). Other tracks take this approach and add to them some more progressive feel, with some odd time signatures, odd bar lengths, and some rather jarring riff changes. This can be seen in Intruder, Vengeance and War Of Independence. On other tracks there is a much more technical and progressive feel to them, such as the long and convoluted instrumental Wood Of Necrophiliac and the slow and grinding The Galley, which features one of the most unpredictable time signatures I've ever heard. The band also hint at their future direction (lyrically at least) in the closing track, Eisbein (Mit Sauerkraut), which is a fast but silly tune which is basically the bands homage to pork hocks (eisbein). The first five tracks are great, but the next three don't seem to be up to the same standard as the first five, before things pick up again with the aforementioned Eisbein.
Frank Fricke and Reiner Kelch take a more adventurous tack to their twin guitar assault on this release. They base their attack on their fast palm-muted riffing as always, but they've incorporated some new tricks into their arsenal. They tend to play off each other a lot more, with one holding the rhythm and the other going over the top with a lead line. They also experiment with odd timings, as seen in areas of Manila Terror and Intruder, the ending of Natures Death, throughout Wood Of Necrophiliac and the absolute bastard of a time signature found in The Galley (which I still have no idea what the bloody signature is!). Their lead playing is still the frenetic shredding that was on earlier efforts, although in some areas there is a more refined approach, such as the melodic finger-tapped arpeggios in Horrible Solution. All of this is supported by the solid, if mostly unremarkable bass playing of Dieter Kelch. Dieter plays root notes and keeps the time, but he's shown to be slightly more active on this release, if only during Wood Of Necrophiliac.
Atomic Steif continues in the same vein as Back To The Weapons, pounding out a relentless fast double-time beat with a few fills here and there. He does use his double-bass a lot more here, especially in Intruder, Manila Terror and Vengeance. He manages to navigate the odd-timings and jarring riff changes of Living Death's music, most notably in The Galley.
Thorsten Bergmann's vocals were always a divisive element with Living Death, with his abrasive scream practically determining solely whether people would enjoy or despise Living Death. Here his approach for the most part a continuation of his work on Back To The Weapons, but more varied. At times he's at his most abrasive (Horrible Solution, Vengeance and the chorus to War Of Independence), employing a scream that's even nastier than his Back To The Weapons approach. Sometimes he utilises his lower range more (The Galley, some parts of War Of Independence), and on Nature's Death his vocals harken back to his work on Metal Revolution. And strangely enough he attempts a brief Gregorian chant (?!!) on Horrible Solution. A more varied approach from Toto on this release, and one that's a little easier on the ears too.
The production is typical 80's thrash production. The sound is mostly built around the guitars, which are full and defined, although a little muffled at times. The lead guitars stand out well. The kit is mixed a little more evenly this time and sounds more powerful as well. Dieter's bass is at times hard to distinguish, although this is more to do with the rather inactive playing style that he favours. Interestingly, Thorsten is actually DOWN in the mix at times. This makes the effect of his rather abrasive style less off-putting, and makes the album slightly more accessible.
Overall, this is a great slab of German thrash with a more pronounced technical edge. Fans of German thrash and early Mekong Delta in particular will find something to enjoy here.