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This was one of the very first Sodom’s albums I bought. I listened to it several times in these years and each and every time I did that, including now, I always think at two thinks that more or less lead to an only one. First one: this is the almost definitive return to good thrash by this band after the improvement of Masquerade in Blood. Second one: why is it so long? General though: it could have been great without some fillers, to thin out at least 10 minutes. Apart from this, this album contains a general idea of return to good quality thrash metal by this band. Now let’s describe it.
The period was really bad for thrash metal worldwide and Sodom was the only band to walk tall in this field in Germany. Destruction were on hold and musically dead while Kreator went gothic/dark. ‘Till Death Do Us Unite marks a definitive comeback under violent compositions that this time have even a more adequate production for the genre: the instruments are again pounding and they are able to display al their power under a good production. The one by Masquerade in Blood was good to but I think this one fits better for thrash. It’s also more polished. The band itself seems regenerated in these years and their violence knows no boundaries.
“Frozen Screams” is blasting and the riffs can bring us back directly to Tapping The Vein. The new members at the guitars and the drums are already great to me. Bobby at the drums is perfect and in fact this line-up stands still nowadays. The guitars riffs are fast and again malevolent, all supported by the psychotic vocals by the always great Tom. A video was shot for the anarchic, punkish “Fuck the Police” and I must admit that both the video and the song are great. This time the production is far more thrash and so also this song can be seen as a thrasher one even if it’s effectively punkish. With “Gisela” we are back to Get What You Deserve times and I’ve said everything with this. Very funny.
We can find also two more mid-paced tracks here and they’re “That's What an Unknown Killer Diarized” and the title track. The Motörhead influences are more present but we can find also more groovy influences in the rhythmic riffage and the crawling tempo. They are quite good and catchy too. Songs like “Suicidal Justice” and “Polytoximaniac” are truly fast and punkish with the powerful, loud bass sound behind the guitars. Going on, my idea is that Sodom put too many fillers in a row. For example, “Wander In The Valley” and the dissonant riffs on “Sow The Seeds of Discord”. The last one “Hey, Hey, Hey Rock’n’ Roll Star” achieve the goal of making me smile but nothing more. It’s far less vicious than the various “Ausgebombt” and “Bombenhagel”.
The rest is quite good and the first three songs are surely the best ones on this album. The title track is fine too but a sense of tiredness invades my mind while I’m going on listening to this album. There are too many tracks and in these cases you should put out always good ones to avoid the listener’s sleep. Seems like that in the 90s, the thrash metal bands forgot that in the century before 9 tracks were perfect to show the power to everybody without resulting boring. The mark for this album is inevitably pulled down by this particular and that’s a pity.