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In Search of Traces of UK Thrash Dignity - 86%

bayern, September 8th, 2017

I started my acquaintance with Onslaught with the album reviewed here, and since I liked it quite a bit, I decided to track down their past repertoire. I couldn’t quite hear what the big fuss was about on those two previous instalments, there were fans I knew who were swearing by “The Force” as the biggest thing that ever happened on the UK thrash metal arena, as they were just passable, marginally above average, recordings “The Force” by all means the superior offering, but nothing even close to the magnanimity of the Sabbat arsenal, or the cleverly-constructed memorable contributions to the genre made by Satan/Pariah, Deathwish, Acid Reign, etc.

It’s debatable how beneficial an immediate follow-up to “The Force” would have been, sustained in the same vein as well, but three years was too big a gap to be filled in properly, especially when this was thrash metal’s golden period. Still, the guys decided to give it one more go, and armed with none other but Mr. Steve Grimmett (Grimreaper) behind the mike, they shot this “search of sanity” hoping that the fanbase would savour it regardless of the considerable cosmetic alterations…

Although it’s not hard to see why the band’s hard-core fans hated this effort with passion upon release, it’s equally as easy to not denounce it as a worthless collection of belated, derivative thrashy hymns. With a much more melodic singer the band were obviously aiming beyond the mere thrash metal fanbase, and with a more complex, nearly progressive at times, approach they also wanted to sound relevant to the growing tastes in more challenging, less immediate ways of expression in the late-80’s. However, before one starts appreciating the new Onslaught face he/she has to go through a major annoyance: the opening “Asylum” which is nothing but 5.5-min of ambient noises that must have exasperated the old fandom to the max considering what followed after. For those who had come across the band for the first time on the album reviewed here, the continuation must have been a revelation as the title-track is a winner an all counts, a progressive thrasher the band suddenly having discovered a passion for the Bay-Area with lashing clever riffage carving the path to be trodden till the end, with Grimmett outstanding behind the mike, obviously revelling in his own vocal dexterity the others doing their best to be on par with him, with blazing melodic leads and sharp headbanging sections handsomely provided.

The show goes on with “Shellshock”, another notable shredder keeping things immersed in the fast-paced parametres for a large portion of the time, and should even make the older band’s audience jump around for a while. The jumping will go on unabated on “Lightning War” which thrashes with force, sounding quite close to its predecessor, maybe providing a few more flexible rhythmic jolts. More stylish melo-thrash afterwards, and it won’t be before Grimmett’s vocals hit that one may eventually recognize AC/DC’s hit “Let There Be Rock” here turned into a frolic speed/thrasher, a really well made cover with speedy cutting guitars. “Blood Upon the Ice” extends the rifforama to whole 8.5-min, but otherwise this is quite close to the preceding numbers, sophisticated brisk thrash without any particularly memorable embellishments. “Welcome to Dying” could have been the band’s finest hour if made twice as short, but now 12.5-min of these lyricism-escalates-to-thrashism histrionics kind of don’t hold the whole time; still, the first half is one of the most impressive 6-min in the band’s discography, obviously mirroring the seeping dramatism of Metallica’s “Sanitarium”, but with Grimmett being a more versatile and more emotional singer the poignancy and the more aggressive eruptions juxtaposed to it sound way more palpable, their seamless symbiosis making the all-thrash-breaks-loose lead-driven epitaph and other faster-paced appendages not really necessary. Anyway, the guys had their chance to create their imposing epic, but the following “Power Play” sounds perfectly legitimate with its intense pressurizing tempos, a smashing headbanger second to none also graced by a superb virtuoso lead dash, clearly the highlight here, making the short rock-ish finale “Confused” a redundant afterthought.

In the long run the pluses here are way more than the minuses the guys making a bold attempt to commercialize their repertoire and to probably grab the premiership in their homeland which wasn’t exactly the most cherished place for thrash. And yet, by the time this effort saw the light of day, the quality thrash metal outfits from the Isles were clearly more than the fingers on both hands: Cerebral Fix, Sabbat, Deathwish, Slammer, Xentrix, Hydra Vein, Satan/Pariah, Acid Reign, Anihilated, Virus, etc. There was a healthy scene out there amazingly each practitioner trying to develop their own individualistic sound although in the case here and in a few other ones (Xentrix, Slammer) the call from the other side of The Atlantic didn’t remain unheard. In this particular trend the opus here may be considered the highest point largely because the other mentioned acts either lacked a memorable vocalist (Slammer) to give them a more characteristic edge, or didn’t have the skilful axemen (Xentrix) to elevate them beyond the emulation cycle.

Equipped with a very good singer and with a more accessible, more mainstream-savvy delivery Onslaught could have made at least one more effort in an attempt to edge out the competition, or just for their own gratification, but without the needed label support (London Records simply abandoned them after this album’s release), and with the waning interest in the classic metal sounds in the early-90’s they found no reasons to go on. After the reformation in 2004 the band have been doing fine although the modern/classic thrash blends they have been serving on more or less regular bases can hardly pass for the greatest thing to ever occur on the voluminous new millennium’s scene. They were looking to retain their sanity some 30 years ago; it’s debatable whether they managed to do that back then, but along the way they undoubtedly produced some of the most dignified moments from the UK thrash catalogue.

Found It - 85%

Tanuki, March 7th, 2017

Conceptually, this was absurd. A rabid forefather of blackened thrash is convinced by a large record label to take a musical inoculation, and release a glossier power thrash album in the same vein as Master of Puppets. A terse goodbye was bade to their trademark "goat choking on coal ash" sound, and the new age of Onslaught was heralded by the stratospheric pipes of the one and only Steve Grimmett. History lesson over, I now find myself with the difficult task of explaining why an early-Onslaught fan still enjoys the black sheep of their discography.

I didn't say Master of Puppets as a joke, or as an exceptionally lazy metaphor to get my point across. With suspiciously similar track titles, themes of psychology and warfare, and protracted song lengths to exude the illusion of depth, there's no other 80's thrash album worthy of comparison. And that's not even making mention of the riffcraft. A noticeable departure from the charbroiled toiling of The Force, Nige Rockett and newcomer Rob Trotman deliver cleaner, more accessible riffs that rely heavily on rough glissandos and hard-charging tremolo picking. If that description sounds similar to 'Damage, Inc.' or 'Battery', then I'm doing something right.

Incidentally, this incarnation of Onslaught was more than competent in its emulation. 'Blood Upon the Ice' and 'Shellshock', aside from overstaying their welcome with an excess of identical verses and choruses, are phenomenally well-crafted with punchy aggression, catchiness, and memorability. Foremost among these standouts is 'Lightning War', my uncontested favorite for the same reason this album is castigated: Steve Grimmett.

I don't want to get too carried away, but Steve Grimmett is God. Perhaps his melodies can seem over-indulgent at times, but I can't blame him for wanting to explore that vivacious, expressive, expertly-controlled falsetto of his. His performance in Grim Reaper was the stuff of legend, and he puts on a tremendous performance throughout In Search of Sanity as well. Energy, range, and pitch-perfect precision collude to create a vocal presence thrash bands like Cyclone Temple and Depressive Age wish they had.

But sadly, most people only know this album by 'Welcome to Dying', the thinly-disguised ersatz of - you guessed it - 'Welcome Home (Sanitarium)'. A twelve and a half minute leviathan of a thrash epic, 'Welcome to Dying' epitomizes the heavy albatross that hangs from Onslaught's neck. It drags on and on, skirting around all extreme metal sensibilities and wallowing in its own pretentiousness. The trailing guitar harmonics that go nowhere, the hymnlike repetition of the chorus, the crescendo that bursts in, realizes no one cares, then quietly shuffles out... It's an unfortunate blight on an otherwise bafflingly consistent album.

Despite all of this praise, I remain aware of how badly it hurts when a band kicks its previously established style out of the bed like a roguish lothario. One minute you're swinging your fists to Power from Hell, the next minute you're hearing the same band play AC/DC covers. When I put it like that, I can kind of understand the hate some people have for this album.

Underated, yet polished melodic thrash - 87%

BlackMetal213, December 19th, 2016

After really listening to this album, I fail to see how it is so sub-par like many tend to think. In fact, I’d say this is the best album Onslaught has put out. After releasing the classic albums of “Power from Hell” and most notably “The Force”, which had a hand in influencing both the emerging thrash and death metal scenes, the guys returned with “In Search of Sanity”, this album, in 1989. After the admittedly useless album opener “Asylum”, it becomes fairly apparent that this is quite different from the band’s previous works. But for me, this is for the best.

The production of this album is quite clean. We don’t really get that dirty sound from the early works. Instead, we begin to hear a far more “studio professional” Onslaught. One can certainly hear more influences of bands such as Metal Church and Testament, but definitely Metallica. The production is very similar and in this case, I fail to see how the band should be faulted for putting more effort into achieving a cleaner sound. It’s not polished to the point where the music sounds artificial. The guitars here are absolutely amazing. Ranging from the speed metal assault of the title track to the grooving thrash of “Shellshock”, there is a bit of variety here. There’s even an AC/DC cover in the form of “Let There Be Rock”. I’m not a fan of AC/DC myself, but this cover is absolutely amazing. It’s fun and you can tell the band had a great time doing it. The bass is clear and the guitars add a thrash twist to the song. In terms of aggression, I think “Power Play” probably has some of the most ferocious riffs throughout the album. It’s the closer but starts off with a chugging, galloping riff that brings bands such as Exodus to mind.

My favorite song on the album is actually the ballad. “Welcome to Dying” is a hauntingly beautiful song. The clean guitars add a ton of atmosphere to the band’s sound and, unlike most of the thrashier songs on the album, tend to be one of the main elements of the song. The vocals are far less aggressive which fits the song’s musical ideas far more effectively. I believe this was the band’s only full-length to feature Steve Grimmett as the vocalist and for how the music sounds this time around, he was a great fit. “Welcome to Dying” is a long song, at around 12 and a half minutes, and is more of a progressive track (the Metallica influences are perhaps at their strongest here). Prior to the 8-minute mark, this track begins to pick up the pace and introduce more of that thrash sound. This sounds like something that easily could have fit on “Master of Puppets”. And when that bassline comes in more clearly, and we get that little bass solo, before going back into that beautiful clean guitar passage, my thrash boner perks up every time.

It’s easy to see how most people prefer the band’s earlier, more dirty albums to this one. Those are quite good albums, don’t get me wrong, but I can’t agree that they’re better than this. Onslaught is not one of my favorite bands in the thrash metal genre but with “In Search of Sanity”, I feel this is a classic album and definitely deserving of more recognition.

Wake me up when it's over - 55%

Felix 1666, January 23rd, 2016

No doubt, this band was storming through the sub genres in a mind-boggling manner. After having played punk, death metal and Slayer-influenced thrash, the guys of Onslaught (or an imbecile consultant) had the dubious idea that Metallica-inspired metal seemed to be more lucrative. (A few years later, their compatriots of Xentrix made the same mistake.) The management, the bureaucrats of the record company, they all were very happy. The only outcast was Sy Keeler. He lost his job and his raw appearance was replaced by the more melodic voice of Steve Grimmett. This was a bad omen from my perspective, because exactly this pseudo-thrasher had also been responsible for the vocals on Grim Reaper's "See You in Hell", one of the greatest flops of my record collection. And - surprise, surprise - Grimmett's performance on "In Search of Sanity" was doomed from the start, because everybody expected the next violent attack, but his probably well trained voice was anything else but aggressive.

But the contribution of my old friend was not the crucial factor for the totally unexpected failure of the album. After the mind-numbing intro (five minutes of total emptiness, did they call that a joke?), a slack riff welcomed the perplexed listener and the title track began to spread its slightly stinking aroma. Grimmett chirped his lines, the guitars set the focus on sleepy harmonies and the drummer acted in slow motion. Some melody lines and solos were not completely bad, but honestly speaking, this seemed to be another band. "Shellshock" was a little bit more forceful. Its solid riffing and the convincing chorus left a good impression, but Grimmett's high-pitched intermezzos attacked my nerves. Nevertheless, "Shellshock" illustrated that Onslaught were still able to compose more or less good songs, although it seemed as if the "Flame of the Antichrist" had cauterised a lot of the musician's creativity.

I don't know what was worse. Fairly aggressive songs like "Lightning War" or "Power Play" that were almost ruined by Grimmett's inadequate singing or absolutely lame tunes such as "Welcome to Dying" which were equipped with emotional (and completely tiring) guitar lines. I tend to the latter. But the greatest catastrophe was yet to come. I am talking about the AC/DC cover. It sucked! Well, due to whatever reasons, the insufferable Celine Dion has covered "You Shook Me All Night Long". I must mention this impertinence in this context, because this is probably the only AC/DC cover which is worse than Onslaught's performance of "Let there be Rock". The eponymous record from 1977 was my first vinyl and it is a brilliant album with an outstanding title track. Too bad that Onslaught raped this sonic monument without any feeling for its quintessence. I don't know if they core their apples, but they definitely cored this masterpiece. Separate Angus Young from his band mates, give him an acoustic guitar and he will play a more violent version of his classic. Onslaught's interpretation was just a violation of musical high culture.

Irrespective of the commercialized approach, most of the songs were much too long. Nobody needed more than eight minutes of "Blood Upon the Ice". Everything was said and done after the first half of the song. But instead of offering a compressed version, Onslaught knew no pity. They stretched the piece endlessly, not realizing that this was hardly to swallow for their new target group (also known as superficial mainstream consumers). Due to my affinity for Onslaught, I really tried to fall in love with this album, but it was impossible. It just did not work. By the way, the same applied for the light production. But it makes no sense to speak about the quality of a production when being confronted with totally disappointing song material. It was no wonder that the album did not put the scene into turmoil. Quite the opposite, it was a foreseeable development that "In Search of Sanity" marked the last Onslaught album for a very long time. The loss of credibility could not be compensated.

Searching new horizons! - 90%

Thorgrim666, April 3rd, 2012

Here we get a little heavier and enter the realm of thrash metal, although this time it makes sense as this was the first and only album released by this British thrashers with Mr. Steve Grimmett (Grim Reaper, Chateaux, Lionsheart). Over the years this album has been despised by some Onslaught fans due to its more commercial edge compared with what could be heard in "Power From Hell" and "The Force", but I've never really understood why. Yes, some of the violence is gone, but hell, this one is also impressive. I don't know if it's better than its predecessor, but it surely surpasses the music from the debut, and does more commercial mean worse? Usually that's the way it is, but sometimes this also comes with an increase in quality, compositional abilities, and overall sound. That's the case with Onslaught's third release and last before their initial split.

"In Search of Sanity" (exquisitely produced by Stefan Galfas) places the band among some of the more refined speed/thrash metal bands of their time such as Testament, Annihilator, and especially Metal Church and mid '80s Metallica (the production sounds very similar to Flemming Rasmussen's works with the four from San Francisco); lengthy, fast, and sometimes quite melodic or even progressive speed/thrash metal songs with a perfect mix between the really hard guitar riffs and Steve Grimmett's amazing voice. It's quite understandable why some of the hardcore thrashers never swallowed the crystalline sound of "In Search Of Sanity" and Grimmett's melodic vocals, but this album should have taken the band to a wider audience that never became aware of Onslaught's activities. Quite a shame, but I think that we should blame London Recordings for this. Just one year after the release, Steve left the band, being replaced by Tony O'Hora, but their fate was already written.

Solid but highly repetitive - 84%

Metalwontdie, July 17th, 2009

Onslaught’s third full-length release In Search of Sanity is definitely a change in sound from their last two releases. Instead of a full speed Slayer esque thrash assault In Search of Sanity, represents the far more melodic and commercial approach that a lot of thrash bands were incorporating into their style in the late 80’s. The darker atmosphere and lyrical approach of Power from Hell and The Force has been dropped in favor of more death and insanity oriented topic. The songs are even longer than on The Force and are much slower and more melodic.

In Search of Sanity is a mix of power, thrash, and speed metal with a more melodic edge. The songs themselves are mainly mid-tempo besides Power Play which is the fastest song on the album and rely more on repeating riffs, leads, and choruses. Acoustic guitars are used mainly on the Metallica inspired Welcome To Dying which sounds like a less heavy, much longer and more melodic hybrid of One and Fade to Black. A speed metal version of AC/DC’s Let There Be Rock is present and while it is a solid cover it doesn’t add to the album.

The band’s performance is solid if a bit uninspired considering the highly repetitive nature of In Search of Sanity. Steve Grimmett provides vocals on this release and instead of the harsher less melodic vocals of earlier Onslaught, Grimmett sings in a melodic classic metal style with a higher range. Nige Rockett and Rob Trottman play their guitars skillfully, but play the same riffs too many times and focus more on the riffs than the leads and solos. James Hinder’s bass guitar gives a bass heavy feel to the album and follows the guitars the whole time. Steve Grice drumming is standard and really doesn’t stand out at all from the rest of the band member’s.

In Search of Sanity suffers from some major weaknesses which bring down the score a lot. First off the songs are on average two minutes too long and could use more riffs. The album length is as long as many of the late 80’s progressive thrash albums but In Search of Sanity is far from progressive. Steve Grimmett is a great and versatile vocalist but doesn’t give off any of the usual angry thrash vocals and doesn’t really fit on this album. Finally Asylum the album opener is a pointless horror based atmospheric song which is too long and doesn’t fit the music on this album at all.

In Search of Sanity overall is a solid thrash album but far from an excellent release. If In Search of Sanity had been shortened and made less repetitive it could have been a classic. Best songs are In Search of Sanity, Lightning War, Welcome To Dying, Power Play. I recommend this release to fans of melodic thrash metal not thrash metal purists.

-4 points songs are too long and repetitive
-4 points album length is way too long
-4 points vocals do not fit In Search of Sanity
-4 points pointless atmospheric album opener

They were never meant to be, but it's not terrible - 60%

Xeogred, January 16th, 2008

Onslaught's previous release The Force had me in quite an awe, it was a relentless thrash assault I could easily see myself enjoying along with Artillery, Exumer, and Grinder just to name a few bands (that sound similar), but what the hell happened here? I guess I can't say I was totally surprised by this, since it's got quite a nasty vibe going for it already. Though my interest got the best of me and this was just another one of those albums I wanted to hear for myself. It's not pretty, not one bit.

Yeah, we've all seen it happen before especially with some of the bigger names out there. Thrash bands take a turn for the worst, get a little "groovy" slowing everything down and try to be more approachable. This is probably what Onslaught were trying to accomplish with this release but ... damn is this just a mess. Even if their softer/slower style wasn't enough of a change, they brought in Steve Grimmett of Grim Reaper fame to take over vocals. Along with this a new bassist and guitarist were added replacing former members, which probably just added more to the big equation.

Don't get me wrong, I gave Grim Reaper's "Best Of" compilation quite a nice review a long time ago and it's still something I really enjoy - I really enjoy Steve Grimmett. He's an incredible vocalist and really classy at times with that great 'NWOBHM' styled voice that he carries. I love my thrash and I love my shrieking vocalists. But it's the way Onslaught used him here, I'm not sure if it was Grimmett himself that made the band change so drastically or not but these vocals here don't fit at all! At times it sounds like they just recorded some completely random vocals over some completely random music, it's just that bad. The worst part about all of this is that it definitely could have worked out. Just look at Toxik, Realm, Flotsam and Jetsam, etc, there were plenty of thrash bands out there with clean vocalists that were great (although thrash fans are always torn on this aspect, I'm sure we can all agree at least the way the vocals were executed they fit in with the band perfectly, which is not the case here). As the former reviewers have stated, Grimmett does truly do a great job singing here, it's just that he doesn't sound in tune with the music at all or with Onslaught's image. He tries to soar away with nearly every single note and after awhile it begins to sound too disjointed and makes this really flavorless.

Now I've honestly seen bands take even more drastic turns for the worst and really this album is still pretty heavy at times; just nothing you'd compare to Onslaught's previous releases. They start things off terribly with a five minute long intro that does nothing and from there, it quickly becomes obvious of how out of place the music is with itself on In Search of Sanity, even the guitar tone on this track sounds incredibly odd. The riffs are hardly memorable and there's quite a bit of short quick picking with the guitars which doesn't sound that great at all, so you sometimes don't even end up with powerful riffs of any sort. When the riffs come in they usually don't sound complete or don't continue on for very long, so it's quite a let down on some of the tracks. Overall the music is pretty generic and once you've heard a few tracks you've really heard them all. Lightning War and Power Play seem like the best picks here, being the most aggressive tracks you'll delve into but even the best here aren't without quirks. To pretend this album didn't come from Onslaught might allow one to appreciate it more, but even so it sounds too out of place to fully enjoy and remember. Can't really recommend this one, maybe if you like Annihilator. The Force makes this look like a joke though.

A toothless dragon. - 20%

hastings, November 3rd, 2005

This has to be one of the biggest disappointments… ‘Power from Hell’ & ‘The Force’ are two very different albums, but both managed to capture some incredibly killer tunes and atmosphere. ‘In Search of Sanity’, however, is very dull, tame and flavourless. The musical equivalent of being bashed to death with a fluffy toy. Let us dissect this failure…
Yet another vocalist change brings Steve Grimmett into the picture. Very melodious, schooled and correct in his pitch. That’s the problem! It’s too ‘goody goody’ sounding. A lame attempt at softening and commercialising Onslaught. Where are the satanic references? Where is the danger?
The guitar playing of Nige ‘Rockett’ is super clean & too light. The song structure he’s written is weak, boring and there are too many solos. I’m sure it’s so he could show off how ‘mature’ he had become since ‘Power From Hell’. There’s hardly any shred (Lightning War is an exception). Instead he provides us with over-produced, over-clean power ballads.
They even desecrate AC/DC with a horrible cover of Let There Be Rock. Why??? I’m sure the corpse of Bon Scott is vomiting in his crypt.
Instead of moving the band into another level of fame and fortune, this record seemed to kill them. Don’t waste your time with this. But don’t overlook their previous work either. Before ‘In Search Of Sanity’ they did release some intense headbangers. They receive the highest recommendation from me. This one… receives a pitiful score of 20%. It’s for die-hard collectors and bargain bin buyers only!

The Best Onslaught Album - 90%

gretopi, December 23rd, 2004

First of all, Onslaught is one of the greatest U.K thrash metal bands ever although they weren't popular enough to attract worldwide fans.
Anyway, "In Search Of Sanity" is regarded by other fans all over the internet as the worst Onslaught album. And overall the first two albums are a lot more appreciated than this one.
In my opinion, "In Search Of Sanity" is one of the best classic thrash metal albums ever. The guitar work on this album is totally amazing and clever in the same time, and the vocals lines are so melodic and powerful. So you can hear this great combination between Thrash (Metallica's Master of Puppets) and Heavy/Power Metal (Grim Reaper) which produce a great harmony.
And I really can't understand how people prefer the two first two albums (Power From Hell & The Force) though the whole work is very standard accompanied by annoying guitar riffs and vocals line very similar to the early Slayer era.
"Lightning War" is my favorite track on this album because it contains some much power in it presenting speed riffing and complex thrashing elements. “Let There Be Rock" is a wonderful cover that was played and maintained very well. "Shellshock”, "Blood Upon the Ice”, "In Search of Sanity" are great songs formed by some amazing complex heavy thrash riffs and tremendous lead melodies. "Welcome to Dying" is one of those really complete songs where you can find anything you want from soft clean arpeggios to power riffs and solos (Guitar & Bass).
Finally, I wish I can congratulate personally the guys from Onslaught on this great effort and I hope to see them reunited one day ("In Search Of Sanity" line-up).

Whooaaa, what the fuck?? - 46%

UltraBoris, January 6th, 2003

So we have England's best black-thrash band at the time, Onslaught, the purveyors of quality raw thrash metal, and then they get the dude from Grim Reaper on vocals. They also get some really slick production and melody and... well, it's really not BAD, but this is not the Onslaught that we love.

There are still some great fucking thrash riffs to be found here, but the fluffiness tends to dominate quite a bit. For example, the intro track is FIVE minutes of random noises. Skip button. Then, the title track for example. Monster thrash riffs come out of nowhere, and then... we've got that dude that used to sing for Grim Reaper. He's a great singer but he does not belong on a thrash album. His drawn-out melodic vocals just do not go well with the choppy riffage.

Okay, vocals aside, because he still is doing a good powerful job, so I won't hate him like I hate Gene Adam. The riff quality also went downhill a bit, in that the middle breaks are not nearly as interesting as on the previous album. It also seems they are riding that one midpaced riff (the opening riff to the title track, for example) just a bit too much without all that much variation to it, as it pops up again pretty much in every song. For example, Shellshock is a total continuation of In Search of Sanity.

The highlight of the album has to be Blood Upon the Ice, because it has the best overall riff assault. That midpaced riff is pretty damn cool, and you know what, an entire album using it as a backbone probably COULD work well if you didn't fuck up the other details - but it's on shaky ground with the vocals and the general lack of great counterpoint riffs. Then, a lot of the songs are overlong - longer on average than on The Force, and with fewer riffs, that is bad. Welcome to Dying is the perfect example of this. Snooze.

The lead guitars - those are great here, much more focus on them than in previous albums. However, unlike other thrash albums with great lead guitar (see Coma of Souls), these do totally replace the riffs in the mix a lot of the time, as opposed to adding to them.

Oddly enough, the bonus track is very nice, because it's a demo or something - thus it doesn't sound nearly as overproduced!