Register Forgot login?

© 2002-2022
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Pentagram > Pentagram > Reviews > bayern
Pentagram - Pentagram

Destructive and Devilish, and Mildly Derivative - 79%

bayern, September 20th, 2022

Raise the pentagram, baby… sky high! And this is exactly what our Bosphorus denizens did in 1987… until they realized that some 16 years earlier there was already a band founded under that moniker… in the distant USA. And not only but the Americans had also managed to establish themselves as a power to be reckoned with, largely in the heavy, slow, antediluvian ship-sinking department known as the good old doom.

No problemos, the guys change their name, only for the outside world mind you, and also preserve their devilish affiliations by leaving the pentagram as the title of the album reviewed here, their first instalment. And they nearly caused the rise of the first tsunami in Bosphorus history with this seismic entry, a Germanic thrash worship, think early Destruction and Exumer, above all. In other words, brace yourselves for some fast ripping stuff which knows no mercy on barely restrained outbursts like “Rotten Dogs”, the slightly more contrived “Mephistopheles” chasing all the posers away, also suggesting at a more ambitious repertoire, the latter materializing on the effective operatic near-instrumental “Metal Not Dead”, and on the full-on instrumental “Blood Guillotine”, more laid-back sagas with thrash stepping aside at times to make room for a more streamlined power/thrash mixture. Expect bigger diversity as well on the lengthy meandering “Dimensions of Death”, “Powerstage” teeming with suppressed virtuosity, largely from the lead department, the six-stringer eventually coming out with all the guns blazing on the sizzling melo-thrash pageant “Los Magandos”.

Proficiently executed all over, this album ticks all the right boxes for a grand scale retro thrash entertainment, the musicians following well-established models, seldom deviating from the path, including in the vocal presence, the guy a dead ringer for Schmier, spitting the lyrics in a very comparable mean venomous fashion. More individualistic ways of expression can by all be means detected, mostly on the two mentioned instrumentals/half-instrumentals, but there’s this intentional bashing aspect to the music that may attract more, even those not overtly fond of this kind of music. And, most importantly, this was a pioneering achievement in the annals of Turkish music, the first official recording to court the good old thrash and to open wide the gates of Hell for more similarly-styled acts (Ascraeus, Metalium, Blaster, Cultus, etc.) and recordings to appear.

The interesting fact is that the guys didn't quite continue down this uncompromising classic thrash road… the sequel “Trail Blazer” was a great slab, though, more complex progressive power/thrash which literally revealed the guys’ fullest potential. “Anatolia” was not as striking, with thrash almost non-existent, the band quite deft at incorporating dazzling Oriental melodies into the newly epitomized heavy/power metal credo. “Unspoken” followed a similar path, the guys turning into an Oriental folk metal cohort, a stance partly abandoned on the brand-new opus “Makina Elektrika”, a more immediate material that even winks at the obsolete thrashy element from their discography on occasion. The makina… sorry, machine still works, and it still produces edible fruit… that’s why I wasn’t surprised coming across these pentagram-shaped berries on the Turkish market the other day.