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Tourniquet - Pathogenic Ocular Dissonance (1992)

Or fatal colour blindness to be frank, but that's outside the title's domain of the Tourniquet album I'll be auditing. Keep in mind that this is an open and renowned Christian band with consequential implications. However, you may find reverence for the lyrics even if you are indulging into the experience in a secular fashion, but be warned; There's a recurring "Carcass trait", which makes you guess whether the guys at Tourniquet swallowed a medical encyclopedia prior to writing the cryptic song lyrics. That being said, it might sound sort of blasphemous and ill-intentioned, but in the end, it's mostly just about the music and that's also the topic I'd like to stick to. And boy oh boy is the topic exhaustive ... First of all, hands down to Ted Kirkpatrick for his transamazing drumwork. I don't believe there's a single dull percussion sound in the entirety of the album. The guitars are still the main event though, keeping the threads together as it should be. Well, at least during the first 5 tracks. Then we experience something a bit odd (remember the encyclopedia remark). Gelatinous ... is an incredible piece, don't get me wrong, it's just that it's the meridian point, from which on, things start to take off and perpetuate into an even more dynamic second half (surprise surprise). After that particular piece we have Incommensurate and Exoskeletons, which are probably my favourite tracks alongside the sheer brutal energy and riffing on the title track on #2.
Well that's my take, hope you like it and appreciate the masterpiece as I did. There's also a riff borrowed from Black Sabbath's Supernaut towards the end of one of the songs I've mentioned. Maybe that will make you go through the list :)

Paradox - Heresy (1989)

When you hear Paradox, you should first think of Heresy. I believe that there are no major objections to this being their highlight, even though I didn't always think of it that way. I remember rushing through it and regarding it as just another generic German concoction. At that particular time, my interest was focused mainly on their heavier follow-up, that spawned 11 years after and was named Collision Course. Only later have I come to terms with Heresy, which actually became one of my all time favourites ... here's why:
It might just be the most spot on mixture of thrash and power metal out there. The entire presentation is sort to say "distinct" to the band, distinguished by not just this album but by a significant part of their discography. The prevailing theme or better yet, the established concept had to do with the Roman Catholic Crusades, that took place in Europe in the 13th century. Their entire full-length release is dedicated to the struggles of medieval bashing and slashing, that eventually ended up thrashing our eardrums. That being said, I believe the notion of being conceptualised tempts us to listen to the album in its entirety from start til end. In fact, it is a recurring theme amongst the stronger bunch, although rarely have I witnessed such an astounding level of execution. A short summary:
The startoff, which is the title song, binds it all together and provides a quick insight. It has the most memorable chorus and is accompanied by perfect bass levels, probably making it the most likeable riff you can come up with.
They claimed the "perfect way", but we've been presented with some kind of a plot-twist, with playful and surprisingly melodic guitar works after the second refrain. Now point out a band that can pull that off and still keep the threads together. It's sort of the same formula through the whole thing, maybe a bit too trivial at Crusaders Revenge concerning the whole package, but it's still good as a separate song.
Then we have Massacre of the Cathars, which to me is the highlight of the entire thing. Amazing on its own, or in conjunction to the follow up named Serenity, a beautiful piece that does not feel serene at all. Describing the aftermath that would later be additionally complemented in 700 Years On in an almost revisionalistic fashion.
Have we learnt anything from this? I believe I have. That last one was also the song that made me reconsider and evaluate Heresy. For that I have no regrets, since it has grown on becoming one of my favourite albums. It is indeed meant to be listened to as loud as possible and guarded with your life until the Inquisition comes to pull the plug and take you out as the heretic you are.

Coroner - No More Color (1989)

God, this is hard to evaluate. I really do feel perplexed whenever I am forced to give an opinion on anything Coroner have done. I am much inclined to write exclusively in their favour, which is what I try to avoid most of the time but ending up largely unsuccessful at it. Seriously, I consider their creations as the epitomes of thrash, a benchmark to say the least and No More Color is the third to be released that has given weight to the conjecture.
So, what is there to comment on? I'd like to start of by saying that it is kind of similar but in a way also much different from the predecessor.
A nightmare to compare but what else is to be done when the bar has already been raised so high. It ended up being a far more riff based compulsion, with sick leads that cannot be affiliated with the word "flow".
I missed that in a way but if that would have been the main characteristic, there wouldn't have been the slightest difference between the albums. There is still a lot of variety present but not to the same extent as we're used to. Downsizing in that field resulted in an easier listen throughout the whole practically spotless album. Let's say that the observant tourguide had been replaced by his equally knowledgeable but slightly hectic twin brother who just wants to show you the cool sites and get it over with as quickly as possible. It's still the same tour(bus) that cost €16.99, but the atmosphere and the mood have changed. You be the judge of whether it was for better or for worse, I have already made up my mind but I'm not yet telling ...
Better to just take some time and appreciate both albums for what they truly are - masterpieces. Congratulations. Hands down for extracting the formula for success from Punishment for Decadence and extending the lifespan of the Coroner legacy.
I have no favourite track, feel free to pick one and give it a spin if you are not yet acquainted.

Аспид - Кровоизлияние (1992)

This album alone made me reconsider the significance of the Russian thrash scene. Needles to say, it's not unique, since there are some fairly evident remnants of early Master and Shah albums.
But what Aspid achieved with their debut/only release is monumental. Feeding of classical influences like the dragon-serpent on the cover. The "icebreaker" - haunting sensation  constructed from a choir and accompanied by a synthesiser would seem cheesy but in fact it served as an awesome intro to the first track entitled Он пришел (Аспид). You'll reach the conclusion about this being a riff based creation right away. The leads are absolutely spectacular and the bass (that can actually be heard) also plays a major role in this thrash odyssey. Some solo guitar bits sound a bit generic at times; I could do without them. But what I couldn't do without is the marvellous drum work from Vasiliy Shapovalov. Кровоизлияние tends to slow down at times, and most of the time it's the drummer's job to stimulate an outblast.
I have long wondered about how much attention this piece of art and others alike would get, had they been performed in the English language. It might cause a drop in obscurity, like for example if Paul Chain suddenly decided to drop his phonetic vocal style and sung actual lyrics.
I have to point out that my first encounter was with the title track of the remastered version, which I later found out was inferior to the original. Not in the sense of overproduction but a right on disgraceful attempt featuring inaccurate song title translations, loudness overload and an increase in pitch, which actually made the album 5 minutes shorter. I've seen Yu-Gi-Oh card knockoffs with more regard to the real thing than this (sadly official) remastered album. But in spite of the blasphemous 2007 version, my interest was noted and when I came across the original recordings, my mind was set. This whole revision was based on the original version, but I am very much tempted to hear what the 2014 edition (Metal Race label) sounds like. Supposedly it has been remastered under the band members' supervision and made to sound like the original takes. 500 CD copies have been made but I have yet to see one available for purchase. That will be all ... my favourite song? Definitely Там где ночь/Where There's Night.

Coroner - Punishment for Decadence (1988)

Punishment? I feel rewarded for such an experience.
Simply Absorbed from the start as the title track goes. And just as I found the "key", there came the Masked Jackal, which once again reminded me of their debut R.I.P, a flash of the past if you will. It's astonishing how their musicianship has advanced, or with dignity to their earlier stuff, changed, from speed to thrash and yet again in a way that was previously inconceivable. Not even Exodus managed to undergo a refinement of this scale between their first two albums. What I also like is how every song has the ability to amaze you, riff upon riff. Not blow your intestines out but on the fine line of appreciation for the complexity coming your way. Other than that I have to admit that I am left speechless concerning the song structures.
Marky on the other hand had no problems of this sort. Perpetuating themes of death and its tempting nature induced from being manipulated with on a daily basis. Not what I would label as depressive (since there are certain bands out there, that ...), but in a way a grim reminder of the negative aspect of decadence and how it relates to individuals living a naive life. For the conclusion I am inclined to mention three gemstones; Sudden Fall, Masked Jackal, definitely a song to go through - it even spawned a music video afterwards if you care for those, and for desert Skeleton On Your Shoulder.

Coroner - R.I.P. (1987)

Ah yes, the Swiss trio. Hugely influential at the time and regarded today as an archetype of technical thrash in the full meaning of the word. Their story starts from humble speed metal beginnings as roadies for their compatriots Celtic Frost who probably had a significant thematical influence on them and with their main star Tom G. Warrior contributing on Coroner's Death Cult demo as a guest vocalist, the path was paved. Celtic Frost were most certainly a bigger thing in the broad history of metal because they helped with formulating the foundations of both black and death metal in Europe. But focusing on Coroner's debut R.I.P., no thrash creation made any resemblance up to that day. I would pick the year older Destruction's Eternal Devastation as the closest in line to comparison, but pick any component off their album and you will sooner or later realise the right on superior inventiveness and elegance of R.I.P. And yes, the ink was still wet and it was mostly just about speed as the trend dictated, but the musicianship was splendid and razor sharp, making it one hell of a strong debut. With a unique approach Tommy T. Baron gained recognition from both his early and later work to become an outstanding thrash guitarist. The bar was raised by instant classics like Reborn Through Hate, Nosferatu or my personal favourite Totentanz.