P.G.F.H.

These venerable but barely known gentlemen came out of obscurity in 1993 for a brief stint with none other than Kelly Shaefer (Atheist); yes, two of the musicians involved here took part in the “Elements” recording sessions without abandoning their main occupation, and have been active ever since with just a few short breaks along the way…

yeah, not the most productive bunch on the circuit for sure, but when it comes to changing names there are very few outfits that can match them. Having started as Enforcer in 1986 first, the guys played straight-up heavy metal before jumping the thrash freighter under the Wylde Chylde moniker. Then came Azrael in the late-80’s where their delivery took a more ambitious progressive direction with the more aggressive thrashy element still present. Then the current name followed the band not changing anything style-wise, the demo reviewed here a sheer culmination of the guys’ endeavours.

This is spastic, hectic, very complex progressive thrash which stands out even in a very strong year like 1991. What’s more, the band don’t sound like anyone else in particular, what with some of the most elaborate labyrinthine, plain chaotic at times rifforamas on the ultimate mind-scratcher “Pain”, a very busy algebraic formulas’ provider that never stops to perplex even for a split second. It’s a bizarre surreal, but at the same time quite compelling listen which goes on unabated on "Guilt" with irregular angular riffs ala Mekong Delta piling on top of each other, the tension relieved by a nice balladic break, not to mention the perennially mesmerizing melodic lead sections that make circles around everything and everyone in a nearly impromptu-like manner. "Fear" continues challenging the mathematicians with more puzzling time-signatures and vortex-like decisions, the approach easily reaching the infernal intricacy of Deathrow’s “Deception Ignored”, the more linear speedier crescendo flowing into “Hatred”, a fast-paced roller-coaster with more technical passages unexpectedly carving its hyper-active layout to a smattering effect.

The vocalist is a fair presence all over as well his attached clean timbre assisting with authority, his several attempts at piercing, banshee-like screaming also worth of note. The whole combination is quite exquisite the band weaving these not very accessible at times configurations with consummate ease, making the few over-the-top arrangements sound awe-inspiring rather than off-putting. Yes, there was a lot that could have made Shaefer himself gape in wonder regardless that the man had just completed working on one of the most technically audacious exhibitions in the annals of metal, “Unquestionable Presence” that is; those were the artists he needed for the realisation of his more deviant, jazz/fusion-infused ideas.

I’m quite certain that Shaefer had been left more fascinated with this effort here than with the second one; the “The Door” demo was another lofty affair on all counts, but the exuberant complexity from the first showing had been replaced by more conventional technical thrash along the lines of Megadeth’s “Rust in Peace”, above all; great stuff all around, only not as eye-opening and not as intrepidly composed; another big plus in the band’s very short discography with two fairly strong outings released in very quick succession, also sounding quite different from each other. Then the guys, minus the singer of course, joined the Atheist camp for the construction of a few more eccentric abstract elements from the giant, multi-tentacled puzzle that is the technical/progressive metal roster…

of which our friends don’t seem to be such an indispensable element anymore, for a really long stretch of time at that. Said roster needs a gentlemanly, sophisticatedly chaotic push… come on, it can’t be that hard, folks! Don’t you want another prominent practitioner to invite you for the creation of its next instalment...