Album Review: Annihilator - Reissues
Reviewed by Dan Barnes
When Annihilator’s debut album dropped back in 1989 it sent shockwaves through the slowly-fattening Thrash hierarchy. The Big-Four, honed to perfection during the middle of the Eighties with the likes of Master of Puppets, Among the Living and Reign in Blood, failed to capitalise on the razor-sharpness of those records with their respective successors …And Justice for All, State of Euphoria and South of Heaven. They may have shifted vast units, but how often do you find their tracks included in the band’s setlists today?
When Alice in Hell arrived it was like a breath of fresh-air blowing through the scene; those bands snapping at the Big-Four’s heels seemed further invigorated and the sharpness was back when Persistence of Time, Rust in Peace and Seasons in the Abyss hit the racks.
Formed in Ottawa by the multi-talented Jeff Walters in 1984, Annihilator would shock the Metal world with the maturity, themes and technicality of their approach. A year after the debut and sophomore release, Never, Neverland would find the band as main support for Judas Priest’s Painkiller trek. And Mr Walters is a man who likes to keep things fresh, leading to the Annihilator alumni reading like the cast of Ghandi.
German label, earMUSIC will be paying respect to the Canadians over the coming few years by individually reissuing their (so far) eighteen title back-catalogue on 180g vinyl and CD digipack editions with new artwork and – for the digital and CD releases – bonus tracks and demos to show the evolution of ideas from conception to final version.
First up in this mammoth undertaking will be the band’s three full lengths, released between 1994 and 1997. Coming fourth to sixth in the order of release, these titles came at a time when the music scene was in flux and the old school were looking for ways to stay relevant.
After the failure of their own attempt to redefine their sound on 1993’s Set the World on Fire and the subsequent exit from Roadrunner Records, Annihilator returned to their Thrash roots for King of the Kill in 1994, featuring a stripped-down line up of Randy Black on drums and Jeff providing the guitars, bass and vocals.
Opening title-track has a catchy trashing riff, Second to None, Annihilator and 21 thrash like it’s 1989, while the balladic, acoustic elements of Hell Is a War blend nicely with the more traditional Annihilator sound. The Box oozes and crawls, In the Blood and Catch the Wind are more radio-friendly fodder and the jazz-infused Fiasco allows Mr Walters to show his skills in other areas.
The CD and digital version include half-a-dozen demos, including deep-cut Bad Child, which really does deserve more love.
Two years later and Annihilator returned with album number five: Refresh the Demon which found Walters and Black reuniting for a more groove-oriented affair. Having ingested the influences of the era, this album isn’t one that I’ve historically reached for when I want an Annihilator fix. There are scant solid thrashers on display here: City of Ice pummels and pounds, but that’s about it. The title track, Ultraparanoia, and Syn Kill 1 kick things off with a groove more associated with a Pantera or a Prong; The Pastor of Disaster leans further into that vibe, while A Man Called Nothing and Innocent Eyes show Jeff’s softer side.
No additional material is included in the digital or CD releases of this title.
Similarly with 1997’s Remains album, which finds itself with a vinyl release for the first time. Randy Black had departed, ultimately finding himself playing with Primal Fear and Destruction. Rather than recruit a new drummer, Walters opted for programmed drums, giving Remains a far more Industrial sound.
Tricks and Traps is a fast and furious opener, Murder comes with an abrasive edge and Never Forget bounces with hip-hop and hardcore energy, in an attempt to key into the space being occupied by Machine Head. Dead Wrong begins with an opening riff straight from Walk and proceeds to groove away to its heart’s content.
No Love is Jeff experimenting with the electronics available to him, an experiment that finds itself in bizarre territory come the closing Bastiage; but Sexecution is probably the album’s most successful amalgamation of styles, through some Nine Inch Nails spice and a big dollop of that groove.
Fear not, for there are a couple of thrashers here: Revolution and I Want will slake your taste and are an oasis in an otherwise somewhat unfocused record.
Finally, for this tranche of releases, earMUSIC are issuing More Noise volume 1 which gathers the demos and out-takes of the recording sessions for the three albums into a single release. Only the Lonely, It’s You and Riff Raff are bonus tracks that didn’t make it onto their respective records; Bloodbath and Back to the Palace reached the demo stage and got no further, and there are assorted single edits, live versions and interludes on offer.
As to whether you add More Noise to your collection depends on the level of completeness you’re seeking, but kudos to earMUSIC for making it available. I guess that volumes 2 et al will come out as the next tranches of Annihilator albums are reissued over time.
Perhaps not as vital in the grand scheme of things as other Annihilator records, these three reissues make a credible start to reconsidering the work of Canada’s most successful speed/ thrash metal band, one whose career burned so bright early on, but had much to offer creatively at every turn. A worthy walk down Memory Lane for sure.
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