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Thrash tornado - 90%

Felix 1666, April 18th, 2015
Written based on this version: 1986, 12" vinyl, Steamhammer

Time flies. This is no new information. But this situation has benefits too. For example, it is an inspiring experience to rediscover the spirit of your own youth. Of course, you need tools in order to open its coffin and to reanimate it. In my specific case, "Eternal Devastation" is such a tool.

The second full-length of the restless three-piece expresses the attitude of the metal scene of the mid-eighties. As a real child of its time, it reflects the pioneering spirit of a more or less rebellious youth. Hard to believe, but for "thrashers" like me, bands like Priest, Saxon or Maiden were old and lame bastards while untameable newcomers like Destruction and many comparable groups represented the future of metal. As is often the case in such situations, the truth lied somewhere in the middle. Bands such as Destruction were not able to keep the fascinating level of albums such as the here reviewed full-length. Contrary-wise, Priest released a pile of shit like "Turbo" only once in a lifetime so that we no longer had to think about the question, how to murder the "Metal Gods" secretly.

But to return to the current topic, Destruction appeared with an explosive mix of riffs. The very abrasive guitar sound constituted the most outstanding feature of the production. Due to the continually increasing fury of the opener, the guitars dominated the mix right from the beginning. No matter whether you listened to the emotional intro, the rasping mid-tempo segment or the following unleashed parts of the song, guitarist Mike was in the driving seat. The up-tempo sections that began with the first verse were fantastic. Based on razor-sharp riffs, the band developed its "destructive" force. Apart from that, the anti-religious lyrics could not be compared with the stupid texts of their first releases. Surprisingly enough, the band demonstrated its farsightedness. Schmier did not only rail against Christianity, but also against other religions. I liked this global approach. But "Curse the Gods" was just the first highlight of an album that did not lack of quality.

The riffs - and the guitar work as a whole - of the following songs were more or less on an equal footing with those of the opener. MikeĀ“s solos also did not give reason to raise objections. Both high speed parts and slower sections hit the bullseye and the distinctive vocals of Schmier showed his personal development. His voice did not only accompany the music, but it set its own accents. I am unsure whether he was able to pronounce each and every word correctly. But as a German, I have to be very careful with such a statement.

The song material matched with the whirlwind of the cover artwork. The rapid tracks excelled with their homogeneity without showing any signs of monotony. Jewels like "Confound Games" or "Confused Mind" blew you away. But under the bottom line, every single track was infectious and stimulating. Furthermore, "Life Without Sense" surprised with socio-critical lyrics which dealt with the situation of handicapped persons in an appropriate manner. When considering all these factors, it came as no surprise that they were at the top of the German thrash metal movement. There was no doubt that the guys of Destruction had become adults without loosing their youthful enthusiasm. They combined the best of two different stages of development. A good concept to ease the sometimes painful process of ageing. Time flies. Thrash metal endures.