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Deathrider > Requiem > Reviews
Deathrider - Requiem

A toast to what might have been. - 70%

hells_unicorn, March 22nd, 2012

The only thing more common in the world of thrash metal antiquity than bands that sputtered out after a couple of albums are those treasured one album wonders that all but vanished before really getting going. These are the bands that are often forgotten in the wake of the next craze, and believe me when I say that a band like Deathrider which was cut from the Exciter grain had little chance of going much of anywhere once the Pantera craze started. It’s not so much a question of how good this band was, but more what kind of metal they were playing and at what time. While in 1988 this style of album would have been right at home in the San Francisco Bay Area, by the early 90s it became fairly passé, even in the wake of such swansongs as “Horrorscope” and “Victims Of Deception”.

As far as early 90s albums go, this one seems to have been born about 6 years too late given that one of the first parallel albums that comes to mind is Megadeth’s “Killing Is My Business…And Business Is Good”. This one begins with a similarly haunting classical piano intro and spends the better part of its duration speeding away something fierce. “Requiem” is basically one of those albums that try to go forward by looking back, and there’s a little bit of everything going on from Iced Earth style galloping to straight up Metallica worship of the “Kill ‘Em All” variety. It definitely falls a bit short of reaching the heights of early Testament or Heathen, but it’s pretty clear that that is what this thing was going for.

Nevertheless, when this album really gets going, it slays with all the fury of a full blown speed/thrash assault, spearheaded by a series of flashing riff monsters in “Burn Victim”, “Feel The Pain” and “Manslaughter” that sort of come as quickly as they go. The rapid fire yells of vocalist Phillip Patton border on unintelligible and lean towards a hardcore yell. Basically the overall vocal job shuns any notion of variety or intrigue and leaves most of the heavy lifting to the guitars, particularly during the frequent shred solos that interweave with the instrumental breaks. The principle influence here is definitely the unfettered fury of early Slayer with a tiny bit of NWOBHM induced shredding, at times managing to be coherent but otherwise just piling on notes and adding to the chaos.

Occasionally this thing slows down and shows a deeper, heavier side to this band as is the case on “”The Gate” (the longest song on here), but by and large this is a pretty one-dimensional experience. Anyone who has heard anything out of the genre from either the east or west coast will know what to expect here, be it the rank and file Exodus fanatic or the Megadeth junkie. It’s a pity that this band didn’t get a little more traction before fading into obscurity because they definitely had the potential to cut heads with a number of second tier acts and come out on top, but sadly it was just a matter of not having the right timing. By 1991 being a traditional thrash band became anathema to anything that would get signed, leaving this group of maniacal Minnesotans out in the cold. In a sense, “Requiem” proves to be a fitting name for a life that all but never was, may it rest in peace.

Not bad for such a small release - 66%

SideShowDisaSter, September 15th, 2005

Don’t you enjoy it when a band completely catches you by surprise? I know I do. I had never even heard of these guys until recently, when a friend sent me a copy of this album. This is pretty good thrash metal! Man, there were so many bands out there that underground albums like these just get lost in the shuffle. The music is full-throttle and aggressive. The guitars are solid, as are the drums. The bass is a bit lost in the mix, but does show up every now and then. I would have liked it to be a bit more present, but can’t complain too much for such a small release. The vocals are ok, but they are somewhat monotone. They remind me of the guy from Forbidden every now and then. Unfortunately there just isn’t much range in them.

Of the 10 songs, you can pretty much toss 2 of them. The Curse and Eyes Of Misery are the intro and outro pieces. Both are nothing more than a piano playing. It’s alright, but doesn’t fit in with the fury of the other 8 tracks. They sound more like something you’d hear in an old, hokey 80’s horror movie.

Things REALLY get started with track 2, Burn Victim. It comes in with a speedy little riff before going with all out speed. The bass drums sounds a bit odd at first. A fuller sound would have been nice, but that’s a personal preference really. The are a few tempo changes but on the whole it’s just speed, speed and more speed.

Feel The Pain is next, starting out with a mid-paced riff and drum beat. Then after about 30 seconds the band tries to take your head off. Going into the chorus they go back to a medium pace, but there is a really catchy riff there. The song continues in that vein, with a mix of mid-paced and all out thrash.

Plague Of Death is a mid-paced track. Not really original, but not bad either. Around the 1:15 mark they go into acoustic mode, typical for ‘91, with the solo over the top. Then it’s back to the heavy riff.

Speed is the name of the game to open up Manslaughter. Things do get a bit loose here and there, but it doesn’t fall completely apart. The band slows things down right in the middle. The solo is short and sweet and kick things back into high gear. This is one of the shortest songs on here.

The Gate begins with just the guitars playing. It’s an ok riff, with the solo over the top of it. Everyone else then kicks in with a medium pace. There are a few thrash breaks thrown I here an there to keep things from getting boring. This is followed by I Can’t Win. It starts mid-paced before just thrashing away! There is where the vocalist reminds me of the Forbidden singer. One of the few songs on here where he deviates from the monotone sound.

Scum Pit is a bit slow when it starts. This carries on for about 30-45 seconds then it goes to moshing. There is use of gang vocals here in the chorus. At around 2 minutes, they go back to the slow riff and drum beat from the beginning. Then the speed picks up again when the solo starts.

Dum is the closer of the album. This is the only other song where there is any change in the vocals. He goes to an almost hardcore sounding shout. At least it’s a break from the norm. At 1:30 the band start thrashing for a bit. This is ruined by the vocalist chanting “dumdumdumdum” in rapid fire. You could probably toss this one also.

Not a bad album at all. Of the 10 tracks, 7 range from decent to really good. One is somewhat as the title suggests, the other 2 being piano interludes that are OK but just don’t seem to quite fit in. Mostly for diehard thrash fans.