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Sentence of Death (1984)
Released in September 1984, Sentence of Death was the first official release from Destruction. Hailed as one of the earliest thrash metal records, this E.P. possesses quite a legendary status. That said, it may not be as easy to digest as the initial releases from some of the other Teutonic thrash bands.
It is a shame that I did not discover Destruction until long after I had already immersed myself into the early records from Venom, Bathory, Kreator, Sodom, Possessed, etc. Recordings such as Sentence of Death and Infernal Overkill failed to make the kind of impact that they might have and my initial impression was one of disappointment, mostly because this band just did not sound like I wanted them to and lacked the darkness and evil of many of their peers. However, once getting past these shattered expectations, it turned out that there was still something to appreciate.
Musically, this release is fairly impressive. The level of musicianship is far beyond what many others were capable of, especially as it regards the other German bands. Perhaps, that is one more reason for the more primitive approach taken by Kreator and Sodom, as there was no way to compete with the technical proficiency of Destruction. The riffs are far more intricate and the solos were miles ahead of a good number of their contemporaries. There is still a solid NWOBHM influence heard here, with the occasional epic atmosphere similar to Kill 'Em All or Melissa. Even the most primitive track, "Devil's Soldiers", features a solo that would make an early-'80s Kirk Hammett jealous. Most of the riffs convey a sense of urgency and possess an intensity that is absolutely lethal. Unfortunately, two things really hold this E.P. back from being all that it might have been. For one, Schmier's vocals are horrible. Instead of sounding more serious like Angelripper or Mille Petrozza, for example, he comes off as a goof. There is an upbeat kind of vibe to his vocal patterns, accentuated by the rather comical emphasis that he puts on certain syllables. The other thing that serves as a real detriment to this recording is the extremely weak sound. The production is horrid and this was a problem that would plague the next couple of Destruction albums as well. A thin guitar sound, alone, might not have been all that bad. But even the drums sound limp and almost as if it's a toy kit.
Destruction was a band that never lived up to their full potential, but they weren't the worst of bands. Sentence of Death is very flawed and lacks the dark and evil atmosphere found on releases like In the Sign of Evil, Bathory, Seven Churches, etc. However, if you can get past its shortcomings this is definitely worth a listen for fans of early thrash. Otherwise, I'd just recommend to skip the Schmier-fronted albums and go right for Cracked Brain.
It is a shame that I did not discover Destruction until long after I had already immersed myself into the early records from Venom, Bathory, Kreator, Sodom, Possessed, etc. Recordings such as Sentence of Death and Infernal Overkill failed to make the kind of impact that they might have and my initial impression was one of disappointment, mostly because this band just did not sound like I wanted them to and lacked the darkness and evil of many of their peers. However, once getting past these shattered expectations, it turned out that there was still something to appreciate.
Musically, this release is fairly impressive. The level of musicianship is far beyond what many others were capable of, especially as it regards the other German bands. Perhaps, that is one more reason for the more primitive approach taken by Kreator and Sodom, as there was no way to compete with the technical proficiency of Destruction. The riffs are far more intricate and the solos were miles ahead of a good number of their contemporaries. There is still a solid NWOBHM influence heard here, with the occasional epic atmosphere similar to Kill 'Em All or Melissa. Even the most primitive track, "Devil's Soldiers", features a solo that would make an early-'80s Kirk Hammett jealous. Most of the riffs convey a sense of urgency and possess an intensity that is absolutely lethal. Unfortunately, two things really hold this E.P. back from being all that it might have been. For one, Schmier's vocals are horrible. Instead of sounding more serious like Angelripper or Mille Petrozza, for example, he comes off as a goof. There is an upbeat kind of vibe to his vocal patterns, accentuated by the rather comical emphasis that he puts on certain syllables. The other thing that serves as a real detriment to this recording is the extremely weak sound. The production is horrid and this was a problem that would plague the next couple of Destruction albums as well. A thin guitar sound, alone, might not have been all that bad. But even the drums sound limp and almost as if it's a toy kit.
Destruction was a band that never lived up to their full potential, but they weren't the worst of bands. Sentence of Death is very flawed and lacks the dark and evil atmosphere found on releases like In the Sign of Evil, Bathory, Seven Churches, etc. However, if you can get past its shortcomings this is definitely worth a listen for fans of early thrash. Otherwise, I'd just recommend to skip the Schmier-fronted albums and go right for Cracked Brain.
(2 Dec. 2011)
Cracked Brain (1990)
Destruction’s fourth full-length, Cracked Brain, marks a significant shift for the German thrash legends. It’s the first album without the much-maligned vocals of Schmier, and while some may have been skeptical of his departure, the change is undeniably a positive one for the band. André Grieder takes over as the new vocalist, and while he may not be the most extraordinary singer, he’s leagues ahead of Schmier in terms of delivery and tone. His voice fits the material much better, without the shrill, high-pitched annoyance that defined previous records.
The production is thicker than their earlier, rawer efforts, similar to what was heard on Release from Agony with the same muffled sound. While this might lack the intensity of their early days, it allows for a more impactful presentation. Gone are the weak, ineffective tones that plagued some of their older releases, especially how the drums used to sound about as thunderous as someone snapping their fingers. As a result, Cracked Brain sounds more powerful and focused.
The music owes a lot to Testament, particularly in its use of sharp, melodic riffing reminiscent of Eric Peterson's signature style. By the late '80s, many thrash bands were adopting elements of Testament’s style, and Destruction followed suit here. While the album has its strong moments—tracks that showcase the band’s technical prowess and ability to deliver tight, engaging thrash—it also marks a shift toward a more accessible, less abrasive sound.
Though the material lacks the raw aggression of some of their classic works, Cracked Brain is more enjoyable without the incredibly annoying vocals and drumming. Just ignore the stupid cover song, of course. Overall, this is a solid album that benefits from the lineup change and more suitable production. It’s a worthy listen for fans of late '80s thrash metal. Highlights include the title track, "Frustrated" and "Die A Day Before You're Born".
The production is thicker than their earlier, rawer efforts, similar to what was heard on Release from Agony with the same muffled sound. While this might lack the intensity of their early days, it allows for a more impactful presentation. Gone are the weak, ineffective tones that plagued some of their older releases, especially how the drums used to sound about as thunderous as someone snapping their fingers. As a result, Cracked Brain sounds more powerful and focused.
The music owes a lot to Testament, particularly in its use of sharp, melodic riffing reminiscent of Eric Peterson's signature style. By the late '80s, many thrash bands were adopting elements of Testament’s style, and Destruction followed suit here. While the album has its strong moments—tracks that showcase the band’s technical prowess and ability to deliver tight, engaging thrash—it also marks a shift toward a more accessible, less abrasive sound.
Though the material lacks the raw aggression of some of their classic works, Cracked Brain is more enjoyable without the incredibly annoying vocals and drumming. Just ignore the stupid cover song, of course. Overall, this is a solid album that benefits from the lineup change and more suitable production. It’s a worthy listen for fans of late '80s thrash metal. Highlights include the title track, "Frustrated" and "Die A Day Before You're Born".
(3 May 2025)
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