Nuclear Assault Game Over
Well worth owning whether you're a crossover diehard, you've got NYHC stamped on your knuckles, or you believe yourself any level of urbanite thrasher. If an East Coaster from Boston down to Washington, then this applies doubly to you: neglect at your own risk. This is what you get from a bunch of kids from New York born to write thrash. You have to think about the fact that New York at this time was surrounded by punk and thrash, so the crossover sound in this record is expected but this record has a few things that make it more special than others.
The fact that the songs are longer than two minutes are pretty amazing, too. You start off fast with Live, Suffer, Die, a song that really shows off what the band has to offer with musicianship, though not so much with songwriting.
Short but fun, and is the sort of thing you expect from a thrash record. Next is Sin, which seems like the song is rising, or it could be JJ Johnson Willie Dynamite Music From The Original Motion Picture Sound Track just going nuts.
You are reminded of the vocals, something you can truly either hate or love. You start to notice that there is not much of technical side to the riffs, though they are still great. Gotta love the little bass you Nuclear Assault Game Over hear Nuclear Assault Game Over this song. Likler does a great job here.
Cold Steel starts off slow, but then at fast speeds Demolition Hammer Epidemic Of Violence can't sit down and listen to this song. Catchy lyrics here change the voice a bit, but its still got that sound. You can smell the punk influence here. My name is evil Soon you shall see You will obey me Or watch yourself bleed Radiation Sickness starts off smooth for a thrash song, you then get a great bass line thumping away with the song.
The chorus is what makes this song great. Radiation Sickness starts off soft, but goes on with a great riff that's slow and chugging. Then boom, the drums go off punching and gets you going. Stranded In Hell has some great J Cole 2014 Forest Hills Drive, but nothing really that special, along with Betrayal.
Good songs. Hang The Pope is short, but great with thumping bass and non-stop drumming. What more can you ask? Softee Theme is useless, but a nice stop from the madness going on. Nuclear War is one of the highlights with its heavy riff that works in a non-heavy way. Yeah, I know it makes no sense, but just listen to it.
It's a slow song compared to the others, but damn, it moves. Can't forget speeding down the highway with this blasting. You feel the rush from the engine, but the song just takes you away. A free trip. My America is pretty useless, but not long. Vengeance gives you a boost before the long song next. Love the vocal change in the song; it fits very well with the guitars in the background. Now the best song on the record. Brain Death is special because you can feel that the band is trying to find its sound and I think it's just beautiful.
The intro always sticks with me. The acoustic guitars seem to just blend into lava, sharp but soft. Then you have clean guitar and bass and the bit of jazzy, but bluesy influence here.
Boom, Various Psichedelico Introspettivo Flash Back hear the guitar and drums. You look around and you hear the riff surround you, then suddenly drums and more guitars. You look around and your surrounded, scared, and alone just like always.
The vocals mix in well and keep you wanting more. Help me, save me! You keep banging your head. The only bad thing about the song is that the riff slows Nuclear Assault Game Over and lasts way too long.
You kinda wait impatiently for it and the song to end, but besides that, what do we have? Well, this record is far from perfect, but it just has that young feel that not a lot of thrash records have.
The drums fit perfectly; it's not worth mentioning, but they do well. The bass is one of the highlights of this record. How can you not love it? Solos are above average, but nothing special. The vocals are a highlight and are very different. If you hear these vocals, you automatically know it's Nuclear Assault. Great album cover as well, showing what the band is trying to get across: nuclear assault.
Beside the classic thrash metal, in the 80s we could find lots of different hardcore and crossover groups born at the beginning of that decade. The most famous ones were Suicidal Tendencies, M. Then, there were different bands that tried to mix both these two kinds of metal with their particular touch, one of these were Nuclear Assault. The speed, the spontaneity of the hardcore is mixed with the more complex and structured thrash metal without disliking some speed metal viruses.
But, in this case, who cares? It would be so weird. The punk essentiality of Nuclear Assault Game Over of riffs is very important to understand how this genre was important those days for the growing grind movement that brought this essentiality to the extreme.
This is their masterpiece in my opinion because here that formula was not abused and each influence was perfectly balanced. Great album. With this album being unleashed Nuclear Assault immediately reached out to the world and solidified their importance in thrash metal history.
Of course their best work was still to come and they still had to crystallise their own sound but Nuclear Assault already had enough character going on here to put them on the map in a very crowded scene. Not only did Nuclear Assault differ from most contemporary thrashers in sound John Connelly has a very specific voicebut also their lyrical content which was on the socially aware side of the thrash metal spectrum instead of singing about bikes, studs, babes or mr.
Satan himself. Contrasting with their PC lyrics Nuclear Assault also were in the mood for a joke and each album features some. At times one can hear the band searching for their own sound and incidentally incorporating some generic speed and heavy metal ideas. Songs with a more than obvious touch of old Fisful-era Anthrax. This does not take away the fact that these are just great songs! What becomes most obvious on Game Over is that Nuclear Assault simply sound at their best when playing at full speed.
Even though John Connelly has the ability to mix screaming with what might be called vocal lines, he excels when the whole band speeds up. The addition of short funny songs was kept Mongo Santamaria Drums And Chants their next releases even though none of them would ever touch the brilliance of the highly DRI-influenced Nuclear Assault Game Over.
Something we al should be happy about. The album was very good but they even got better on their next two full lengths! Nuclear Assault's debut is one nasty bastard of an album. Of all the classic thrash albums to come out in '86, Game Over is arguably the rawest, potentially one of the most intense, and easily the most tactless. But what it Nuclear Assault Game Over in tact and refinement it certainly makes up for in Nuclear Assault Game Over and sheer badassness, keeping the metal newbie and the seasoned veteran alike headbanging from riff to riff until its very end.
Things get off right away with the quick instrumental riffage of "L. There's a very punkish quality to the band's playing, most notably in the shorter structure of most of the songs, but also in the frantic drumming, the relatively low-gain guitar distortion, and the quick, pounding and quite audible bass playing. Parallels can be drawn to S. I's early output, and that crossover thrash influence is pretty evident Nuclear Assault Game Over. There's even a pair of speedcore numbers thrown in for a quick second or so riff-fest, though they're far less spectacular than the standard songs.
Nuclear Assault Game Over in some shred-worthy lead, some simple yet effective subject matter, and the insanely energetic vocal delivery of John Connelly and you have a winning recipe for a solid thrash album.
The only truly questionable song not counting the two short ones is the album's epic closer, "Brain Death. The same two riffs repeat Unlimited Source Down In The Cellar and forth for several minutes and there isn't even a real X Wild Gift there's a Nuclear Assault Game Over lead melody or a bridge verse to make it interesting.
Their hearts were in the right place, but the song just doesn't stand up to the mighty thrashers that come before it. Oh, and the "Mr. Softee Theme" really sucks.
It's unlisted on my copy and fades in right before the first side ends, so i usually just flip the record to avoid hearing it. It's dumb and a waste of vinyl. But overall, this is a solid It's Nuclear Assault Game Over bit rudimentary when compared to some of its Nuclear Assault Game Over, more technical contemporaries, but kicks more than its fair share of ass by the day's end. Straight outta Noo Yawk City came Nuclear Assault, and they were on eof the meanest bands around at the time, for me.
Aside from the absolutely terrible, tinny production especially the guitars--what the hell was Carl Canedy smoking? It spent LOTS of time on my turntable back in the day and was the first album that got me improving my bass guitar technique as I furiously strove to keep up with Danny Lilker's skinny forearm of steel keeping those riffs anchored.
To the record proper; "Live Suffer Die" kicks it off in fine thrashing mania, straight ahead blazing riffs and Glenn Evans' staggeringly fast drumming, flowing right into "Sin", a crunchy mid paced number with some good soloing delivered with riveting intensity.
The wailing feedback intro for "Cold Steel" rips into another fabulous riff anchored by yet more stellar drumming--Glenn Evans was one of the best and most underrated drummers of the 80s--and headbanging bliss! The only thing I really didn't like about this band was that the soloing needed more character, they were a little faceless for my taste.
And John Connolly's vocals are unique, to Nuclear Assault Game Over the least, perhaps even an acquired taste. But nobody out there sounds like him at all, like another fave of mine, Csihar Attila. NA never quite followed up the impact of this classic release except maybe with the following EP, "The Nuclear Assault Game Overunfortunately, but I was still a huge fan. And I still love this album dearly to this day.
Urgently recommended for newbies wondering just what Nuclear Assault Game Over hell the glory days of the 80s were alll about, this album is.
Throw "The Plague" in there for good measure, while we're at it Personal recognition go the album cover, one of the most hilarious ever made. The NA logo with the words "Game Over" below it and people running Orange Juice The Heathers On Fire their shit ruined by the atomic blast that destroyed their city and will let them vulnerable to "radiation sickness" later on.
The "game" is "over" for them. Geez, me and my morbid sense of humour. So, what you're gonna get with this album. Well, thrash, simple and to the fucking point. A short instrumental intro lead Nuclear Assault Game Over to "Sin", a fast number with great vocals and great riffs that go slower and crushing in the middle.
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Namespaces Article Talk. Views Read Edit View history. The album is considered a landmark in the thrash metal genre. Welcome to Hell. Welcome to Hell is the debut studio album by English heavy metal band Venom. It was released in Decemberthrough Neat Records, at the culmination of the new wave of British heavy metal movement.
The music of Welcome to Hell is often described as speed metal, but it had a great influence on the then-emerging thrash metal style, and crystallised the elements of what later became known as death metal and black metal. The sound of the album is very noisy and rough, perhaps in part because the band thought they were recording a demo when they recorded it over a period of only three days. According to author Dayal Patterson, the relatively low-fidelity of Welcome to Hell inspired other Norwegian metal bands, who considered it black metal.
Patterson says Sphinx Moments Welcome to Hell and Black Metal were both the genesis Nuclear Assault Game Over the black metal genre, with the earlier album "where it was born.
Nuclear Assault Albums. Something Wicked. Nuclear Assault. Something Nuclear Assault Game Over is the fifth studio album by American thrash metal band Nuclear Assault, released on February 23, by I. This is the first and only album not to feature founding members Dan Lilker and Anthony Bramante, as they departed in before the recording process began.
Quick with drummer Glenn Evans. The title track was released as a music video. The song is featured in the end credits of the film Warlock: The Armageddon and in the film It. Handle With Care. Handle with Care is the third studio album by American thrash metal band Nuclear Assault released in
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