Jump to content

Annihilator - Alice In Hell (1989)


BlackSmith

Recommended Posts

61ge-Kzm2eL._SX466_.jpg.fc155d5e6e12dba6fcce7ad04c139b62.jpg

(This is to make up for my first review on Annihilator)

Alice in Hell is Annihilator's first studio album after their formation in 1984. I'll start by saying that this album is a good start for Annihilator and overall I like it. It has one major weakness which does hurt the album for me. The guitar tone gets repetitive after hearing it in the first couple of songs which does make some songs sound the same but with a faster or slower tempo. I'm sure Jeff got his own style but it could've used a little variety. This doesn't make it a bad album by any means but it does weaken it. Overall it's a good album and worth a listen but if you're into more hardcore kinds of metal only then this ain't for you.

6.5/10

Top Picks:
1. Alison Hell
2. Ligeia
3. Schizos (Are Never Alone) Parts I & II

Link to comment
Share on other sites

40 minutes ago, Dead1 said:

A bit brutal guys but c'est la vie. 

For me this is an easy 4/5 or 8/10 album.  One of my favourite thrash albums.

I don't get the diversity comment - song writing's quite varied and memorable especially compared to most thrash metal albums.

Thrash is supposed to be extreme metal, no? This shit is extremely commercial. Appalingly so. In my mind if you water thrash down this much it ceases to be thrash anymore. To borrow some words from Twisted Sister, I'm gonna call this worthless and weak: 4/10. Which is about as high as I can go with anything this overtly commercial, and that's because I recognize they are at least skilled and competent musicians even if they're operating well outside of my sub-genre prefrences. Like the OP dude said, if I'm into more hardcore kinds of metal this shit ain't gonna be for me.

Link to comment
Share on other sites

It's not that commercial, I mean this is the year big selling metal/hard rock artists were Skid Row, Motley Crue and Aerosmith.

And it's also not that much more commercial than albums released in same period (1988-90) by Anthrax, Megadeth, Slayer, Overkill, Exodus, Testament, Suicidal Tendencies, Metal Church, Candlemass, Kreator, Armoured Saint, Candlemass, Flotsam and Jetsam, Helloween, Death Angel, Metallica,  Forbidden, Artillery,  etc etc let alone Iron Maiden and Judas Priest which were far more commercial.

Fair enough it doesn't rock your boat and it's certainly not as extreme as Sodom or early Kreator, Exodus or Dark Angel.

Link to comment
Share on other sites

3 hours ago, RelentlessOblivion said:

funny enough this is the one album of thiers I like, not all thrash has to sound like Spectrum of Death. Having said that I very rarely actually spin AiH.

Yeah AiH doesn't sound bad for a thrash album. It's not the best example but it still does its job.

Link to comment
Share on other sites

8 hours ago, AlSymerz said:

I give it 6/10 just for the cover. It makes a great jigsaw too!

 

It's a miracle she didn't trip and fall down the stairs on account of all the dolls. Seriously, someone needs to teach Alice how to clean up after herself. Not to mention she is a little old for the dolls at this point. Good album for the era, but the parenting here gets a 4/10.

Link to comment
Share on other sites

6 minutes ago, Hungarino said:

It's a miracle she didn't trip and fall down the stairs on account of all the dolls. Seriously, someone needs to teach Alice how to clean up after herself. Not to mention she is a little old for the dolls at this point. Good album for the era, but the parenting here gets a 4/10.

Nah she's safe, it's the one in her hand dropping babies as she takes each step.

Alison is in hell because she's got self replicating golliwog!

She'd be banned in this country in this day and age because Gollywogs are a no no here.

 

Link to comment
Share on other sites

16 hours ago, Dead1 said:

It's not that commercial, I mean this is the year big selling metal/hard rock artists were Skid Row, Motley Crue and Aerosmith.

And it's also not that much more commercial than albums released in same period (1988-90) by Anthrax, Megadeth, Slayer, Overkill, Exodus, Testament, Suicidal Tendencies, Metal Church, Candlemass, Kreator, Armoured Saint, Candlemass, Flotsam and Jetsam, Helloween, Death Angel, Metallica,  Forbidden, Artillery,  etc etc let alone Iron Maiden and Judas Priest which were far more commercial.

Fair enough it doesn't rock your boat and it's certainly not as extreme as Sodom or early Kreator, Exodus or Dark Angel.

Interesting list of bands you've compiled there my friend. I think your claim that Alice in Hell is on a similar level of commerciality as all those bands you listed's albums from that '88 - '90 time period is completely disingenuous. A small handfull of those bands I'd agree had gone shamelessly and overtly commercial by that point but not most of them, at least they hadn't taken things nearly as far in that direction as Annihilator had. It is true I had stopped buying albums from the majority of those bands by 1990 (several of them I had given up on well before 1990) because I felt their [at the time] newer material just wasn't up to par with their earlier stuff. (except for Armored Saint, I've never owned anything of theirs)

I can't help but shake my head when I hear people call out Seasons as their favorite Slayer album or Persistence as their favorite Anthrax disc or Justice (or TBA) as their top Metallica choice, because all of those abums are a long way from the best those bands have to offer. But still imo none of those bands (except possibly Helloween) had dropped anything by 1990 that was even remotely on a similarly egregious level of commerciality with Alice in Hell. To my ears, I do think AiH has a lot more in common with bands like Skid Row and Motley Crue than they ever did with Slayer Overkill or Exodus. I'll leave Aerosmith out of this comparison though since no one has ever tried to represent them as a metal band.

And while we all know my tastes are generally skewed heavily toward the br00tal, I do also enjoy music that's 'softer' and much more commercial than even Annihilator, e.g. I love Alice in Chains and Monster Magnet. My issue here is simply that I want thrash to be thrash. I'm an old school purist. If you wanna talk about the state of thrash in 1989 then go listen to Alice in Hell and Years of Decay and Beneath the Remains back to back to back and then tell me they're all 3 the same sub-genre. One of these things is clearly not like the other two. If I'm in the mood for something catchy and commercial then I can go dig out my old White Zombie, STP and Puddle of Mudd records. Maybe one day I'll even throw on Appetite for Destruction for old time's sake and take a spin across the dance floor with Mr. Brownstone. But when I buy a thrash album I expect it to fucking thrash. To wreck my neck as they say.

I understand the masses may feel quite differently, at least judging by all the generally positive responses I've seen here for Alice in Hell. But thrash and commerciality just don't mix well together imho. Just like black and death metal don't mix well with commerciality either. Extreme metal should be extreme while commercial metal can be whatever those dudes want it to be. I guess I want bands to stay in their lane. An unreasonable and narrow-minded expectation maybe, but that's how I feel.

This is of course just my personal opinion, and I'm only trying to contribute to the group discussion. I get that many of you don't have any interest in talking about a lot of the stuff I might typically listen to because it's not anything you'd want to listen to. Fair enough. So that means I often find myself having to talk about whatever gets posted. I could be wrong, but sometimes I think the dissenting opinion can add value to a discussion. But believe me, I'm not trying to talk you or anyone else out of digging AiH if that's something you're into. I think it should go without saying that all y'all should always keep listening to whatever it may be that floats each of your boats.

Link to comment
Share on other sites

4 hours ago, GoatmasterGeneral said:

Interesting list of bands you've compiled there my friend. I think your claim that Alice in Hell is on a similar level of commerciality as all those bands you listed's albums from that '88 - '90 time period is completely disingenuous. A small handfull of those bands I'd agree had gone shamelessly and overtly commercial by that point but not most of them, at least they hadn't taken things nearly as far in that direction as Annihilator had. It is true I had stopped buying albums from the majority of those bands by 1990 (several of them I had given up on well before 1990) because I felt their [at the time] newer material just wasn't up to par with their earlier stuff. (except for Armored Saint, I've never owned anything of theirs)

I can't help but shake my head when I hear people call out Seasons as their favorite Slayer album or Persistence as their favorite Anthrax disc or Justice (or TBA) as their top Metallica choice, because all of those abums are a long way from the best those bands have to offer. But still imo none of those bands (except possibly Helloween) had dropped anything by 1990 that was even remotely on a similarly egregious level of commerciality with Alice in Hell. To my ears, I do think AiH has a lot more in common with bands like Skid Row and Motley Crue than they ever did with Slayer Overkill or Exodus. I'll leave Aerosmith out of this comparison though since no one has ever tried to represent them as a metal band.

And while we all know my tastes are generally skewed heavily toward the br00tal, I do also enjoy music that's 'softer' and much more commercial than even Annihilator, e.g. I love Alice in Chains and Monster Magnet. My issue here is simply that I want thrash to be thrash. I'm an old school purist. If you wanna talk about the state of thrash in 1989 then go listen to Alice in Hell and Years of Decay and Beneath the Remains back to back to back and then tell me they're all 3 the same sub-genre. One of these things is clearly not like the other two. If I'm in the mood for something catchy and commercial then I can go dig out my old White Zombie, STP and Puddle of Mudd records. Maybe one day I'll even throw on Appetite for Destruction for old time's sake and take a spin across the dance floor with Mr. Brownstone. But when I buy a thrash album I expect it to fucking thrash. To wreck my neck as they say.

I understand the masses may feel quite differently, at least judging by all the generally positive responses I've seen here for Alice in Hell. But thrash and commerciality just don't mix well together imho. Just like black and death metal don't mix well with commerciality either. Extreme metal should be extreme while commercial metal can be whatever those dudes want it to be. I guess I want bands to stay in their lane. An unreasonable and narrow-minded expectation maybe, but that's how I feel.

This is of course just my personal opinion, and I'm only trying to contribute to the group discussion. I get that many of you don't have any interest in talking about a lot of the stuff I might typically listen to because it's not anything you'd want to listen to. Fair enough. So that means I often find myself having to talk about whatever gets posted. I could be wrong, but sometimes I think the dissenting opinion can add value to a discussion. But believe me, I'm not trying to talk you or anyone else out of digging AiH if that's something you're into. I think it should go without saying that all y'all should always keep listening to whatever it may be that floats each of your boats.

I agree for the most part, and perhaps I’m naive having not grown up in that time period, but I’ve always felt thrash sits on the border of accessible and extreme: for every Swallowed in Black there’s a By Inheritance, for each Epidemic of Violence a The Legacy. That being said I see where you’re coming from and it’s much the same criticism I level at Dimmu and CoF

Link to comment
Share on other sites

5 hours ago, GoatmasterGeneral said:

Interesting list of bands you've compiled there my friend. I think your claim that Alice in Hell is on a similar level of commerciality as all those bands you listed's albums from that '88 - '90 time period is completely disingenuous. A small handfull of those bands I'd agree had gone shamelessly and overtly commercial by that point but not most of them, at least they hadn't taken things nearly as far in that direction as Annihilator had. It is true I had stopped buying albums from the majority of those bands by 1990 (several of them I had given up on well before 1990) because I felt their [at the time] newer material just wasn't up to par with their earlier stuff. (except for Armored Saint, I've never owned anything of theirs)

 

Seriously when's the last time you listened to any of these?  Most where as "commercial" as Annihilator and some much more.

 

Bu the way most of my listening comes from these albums so I am not criticising them!

 

Anthrax - State of Euphoria (Persistence of Time was actually heavier but arguably more commercial given a heavier sound was now more popular

Megadeth - So Far So Good So What and then ultra polished far less thrashy  Rust In Peace

Slayer - South of Heaven, half of Seasons in the Abyss

Overkill  - Under The Influence and Years of Decay

Exodus - Fabulous Disaster

Testament - Practice What You Preach, Souls of Black

Suicidal Tendencies - How Will I Laugh Tomorrow, Lights, Camera, Revolution.

Metal Church - Blessing In Disguise

Candlemass - any really.  

Kreator - Extreme Aggression and then Coma Of Souls

Armoured Saint - any really.  Armoured Saint were always happy to play that middle of the road commercial heavy metal (they just lacked a knack for catchy songs).

Flotsam and Jetsam - any really with those pretty vocals

Helloween - Keepers Pt I and II

Death Angel - Frolic Through the Park, Act III - in one interview in 1990s, a member of Death Angel actually said he was ashamed of stuff like Ultraviolence.  They pretty much disowned their thrash heritage until they reformed.

Artillery - By Inheritance

Metallica - whoops Black came out in 1991!  

Forbidden - any really with those pretty vocals

Artillery - By Inheritance (compare this to their earlier albums).

Iron Maiden - Seventh Son Of A Seventh Son and then Fear of the Dark

Judas Priest arguably any album since British Steel, but you had Ram It Down with the glammy stuff and then as they realised glam was dead, Painkiller (Priest were always good at reading the waters and changing direction in a timely manner).

 

I'll also add:

Sacred Reich - American Way after the pummelling thrash of Ignorance.

 

And there's tons of other churning out similar thrash with commercial undertones - Laaz Rockit, Mortal Sin, Xentrix, Acid Reign etc.

 

I'd even argue by 1989 Sodom was trying to go a bit more commercial with Agent Orange but it's still quite an intense album.

 

Save a few exceptions, most thrash in 1988-90 was toned down and death metal and grind were the new true purveyors of extremity.

 

And dude I struggle to understand how Alice in Hell is commercial for 1989 when as I sad you had Aerosmith, Skid Row and Motley Crue as the epitome of commercial rock/metal.

 

Link to comment
Share on other sites

12 minutes ago, AlSymerz said:

What is commercial anyway?

Is it sounding a particular way? Creating music to sell a higher number? Over saturation in the market? Targeted music used to sell something?

 

I think in this context, GG is referring to appealing to the metal mainstream, which in 1989 was the Motley Crue/Skid Row/Guns N Roses crowd.

I actually don't like the term commercial.  After all the most kvlt necro black metal band is commercial if it defines its market as kvlt black metallers and is writing music to cater to that market.   

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


  • Join Metal Forum

    joinus-home.jpg

  • Our picks

    • Whichever tier of thrash metal you consigned Sacred Reich back in the 80's/90's they still had their moments.  "Ignorance" & "Surf Nicaragura" did a great job of establishing the band, whereas "The American Way" just got a little to comfortable and accessible (the title track grates nowadays) for my ears.  A couple more records better left forgotten about and then nothing for twenty three years.  2019 alone has now seen three releases from Phil Rind and co.  A live EP, a split EP with Iron Reagan and now a full length.

      Notable addition to the ranks for the current throng of releases is former Machine Head sticksman, Dave McClean.  Love or hate Machine Head, McClean is a more than capable drummer and his presence here is felt from the off with the opening and title track kicking things off with some real gusto.  'Divide & Conquer' and 'Salvation' muddle along nicely, never quite reaching any quality that would make my balls tingle but comfortable enough.  The looming build to 'Manifest Reality' delivers a real punch when the song starts proper.  Frenzied riffs and drums with shots of lead work to hold the interest.


      There's a problem already though (I know, I am such a fucking mood hoover).  I don't like Phil's vocals.  I never had if I am being honest.  The aggression to them seems a little forced even when they are at their best on tracks like 'Manifest Reality'.  When he tries to sing it just feels weak though ('Salvation') and tracks lose real punch.  Give him a riffy number such as 'Killing Machine' and he is fine with the Reich engine (probably a poor choice of phrase) up in sixth gear.  For every thrashy riff there's a fair share of rock edged, local bar act rhythm aplenty too.

      Let's not poo-poo proceedings though, because overall I actually enjoy "Awakening".  It is stacked full of catchy riffs that are sticky on the old ears.  Whilst not as raw as perhaps the - brilliant - artwork suggests with its black and white, tattoo flash sheet style design it is enjoyable enough.  Yes, 'Death Valley' & 'Something to Believe' have no place here, saved only by Arnett and Radziwill's lead work but 'Revolution' is a fucking 80's thrash heyday throwback to the extent that if you turn the TV on during it you might catch a new episode of Cheers!

      3/5
      • Reputation Points

      • 10 replies
    • I
      • Reputation Points

      • 2 replies
    • https://www.metalforum.com/blogs/entry/52-vltimas-something-wicked-marches-in/
      • Reputation Points

      • 3 replies

    • https://www.metalforum.com/blogs/entry/48-candlemass-the-door-to-doom/
      • Reputation Points

      • 2 replies
    • Full length number 19 from overkill certainly makes a splash in the energy stakes, I mean there's some modern thrash bands that are a good two decades younger than Overkill who can only hope to achieve the levels of spunk that New Jersey's finest produce here.  That in itself is an achievement, for a band of Overkill's stature and reputation to be able to still sound relevant four decades into their career is no mean feat.  Even in the albums weaker moments it never gets redundant and the energy levels remain high.  There's a real sense of a band in a state of some renewed vigour, helped in no small part by the addition of Jason Bittner on drums.  The former Flotsam & Jetsam skinsman is nothing short of superb throughout "The Wings of War" and seems to have squeezed a little extra out of the rest of his peers.

      The album kicks of with a great build to opening track "Last Man Standing" and for the first 4 tracks of the album the Overkill crew stomp, bash and groove their way to a solid level of consistency.  The lead work is of particular note and Blitz sounds as sneery and scathing as ever.  The album is well produced and mixed too with all parts of the thrash machine audible as the five piece hammer away at your skull with the usual blend of chugging riffs and infectious anthems.  


      There are weak moments as mentioned but they are more a victim of how good the strong tracks are.  In it's own right "Distortion" is a solid enough - if not slightly varied a journey from the last offering - but it just doesn't stand up well against a "Bat Shit Crazy" or a "Head of a Pin".  As the album draws to a close you get the increasing impression that the last few tracks are rescued really by some great solos and stomping skin work which is a shame because trimming of a couple of tracks may have made this less obvious. 

      4/5
      • Reputation Points

      • 4 replies
×
×
  • Create New...