Demon Preacher

I will never understand why the vast majority of talented British thrash bands did not have the power to realize their musical visions sustainably. Slammer, D.A.M. or Sabbat, to name but three, split up much too soon. Deathwish also released only two albums. This was very unfortunate, in particular with regard to their outstanding performance on "Demon Preacher". But before I try to describe the music itself, I want to write a few words about its production. The dense and massive sound did not lack of depth or substance. While being neither sterile or brightly polished, it scored with its dark impenetrability. Well, the bass guitar did not reveal its full force. Nevertheless, the vigorous mix constituted a plus point of the album.

Despite the fact that the band took definitely part in the thrash movement, both its sound and the cover artwork also showed some blackened elements. The unholy background choir at the beginning of "Visions of Insanity" demonstrated the cross-references to the black scene as well as the atmospheric and sublime "Death Procession", which created the perfect mood for the following sonic scenario. The recording of Black Sabbath´s "Symptom of the Universe" pointed in the same direction. Better still, the band knew how to arrange this classic in an energetic manner. Consequently, this tune blended seamlessly with their own compositions. Guitarist Dave Brunt had written seven songs and vocalist Jon Van Doorn contributed "Wall of Lies". The opener of the B side was one of the fastest songs. Its precise guitar lines were top notch. But Deathwish also managed to present mid-paced numbers with a stirring guitar work. Just listen to the mighty "Prey to the Lord". Its hypnotizing guitars appeared as a sonic maelstrom that pulled you into the song in an irresistible manner. Despite the fact that this opus had a playtime of more than seven minutes, it was still too short. And of course, the same was true for the further highlights such as the title track or "Carrion". But let´s put it in positive terms, the compositions scored with their compactness while omitting any superfluous parts and useless repetitions.

Van Doorn made good use of his voice. He managed slightly melodic vocal lines as well as high-pitched screams. But in general, he was focused on vigorous sprechgesang. It was not the most triumphant vocal performance, but it fulfilled its purpose in a more than convincing manner. In view of the fact that the other bandmembers also displayed their abilities, "Demon Preacher" did not fail to make an impact. Even the last number added value to the album, although it was just a guitar piece. It created a special atmosphere and appeared as a requiem, for the album as well as for the band itself. After the preceding high speed attacks, this was an unexpected yet suitable ending.

Due to the enthusiasm of the band, it seemed to be logical that this was the next big thing in terms of underground thrash. The almost perfect combination of thrashing guitars, sinister melodies and rapidly hammering drums was predestined to push the band to the next level. But a bitter surprise awaited us. Deathwish vanished silently. All that remains is a strong debut and the gargantuan second album. The latter one must be given a central place in the hall of fame of British thrash metal. Hopefuly, it is already installed in immediate vicinity to Onslaught´s "The Force" and "Sounds of Violence". With regard to this fact, the destiny of Deathwish is much better than that of groups such as Terrorizer that delivered lukewarm comebacks and destroyed their excellent reputation at the same time.