Dark Angel
We Have Arrived

Undoubtedly, the '80s represent the golden decade of thrash metal, which became great thanks to bands like Metallica, Slayer, Megadeth, and Testament. However, it must be admitted that there were many groups on the scene that were heavily underrated. Among them, probably a band that debuted right in the mid-eighties and more precisely in 1985: with "We Have Arrived," Dark Angel presented themselves to the world.
Formed in California two years earlier, they consisted of Don Dotoy on vocals, Jim Durkin and Eric Meyer on guitars, Rob Yahn on bass, and finally Jack Schwarz on drums. With this work, the dark angel queues up with all the Slayer follower groups, giving birth to a CD that's a bit "Show No Mercy" and quite "Hell Awaits," although in terms of beauty and historical importance it can probably never compete with those.

It kicks off with the title track, a very beautiful song that immediately gets into your head, although it indissolubly bears influences from other groups (the first time I heard it, I immediately linked it to "Kill Again") while still presenting a style all its own. Now comes the time for "Merciless Death", another milestone of thrash, introduced by an immortal bass arpeggio and accompanied by Dotoy's deafening high notes, probably the real hit of the album, although I prefer the version from "Darkness Descends," where the rhythm section will be formed by Mike Gonzalez on bass and a certain Gene Hoglan on drums.
An alarm siren opens "Falling From The Sky", another noteworthy song for being probably the most original, thanks to its tempo changes and solos on very high notes. Still, one notices Jack Schwarz's poor technique behind the drums compared to the other band members, to the point of making the songs seem slowed compared to their natural rhythm. Despite everything, however, the songs all know the meaning of violence; just think of the subsequent "Welcome To The Slaughter House" (the title says it all), opened by the chainsaw of a crazy butcher ready to party with you, also destined to remain in the annals. The following songs, "No Tomorrow" and "Hell's On Its Knees", opened by a guitar phrase that invites us to relax but ends in a river of pure power, are also very beautiful.
The album closes with "Vendetta", another lesson of thrash done right that keeps the album at high levels.

In general, we are facing a truly outstanding thrash work that has almost everything needed to make a great album: scratching and transgressive guitars, a voice, Dotoy's, more than sensational thanks to the alternation between wicked low tones and scary falsettos and high notes. The rhythm section is quite perplexing, more for the drums than for the bass, which significantly lowers the tone, and the difference in sound will be noticeable and stark in the subsequent "Darkness Descends" with the change both at the four strings and behind the drums.

Probably the least beautiful (because calling it the worst would seem too offensive) of Dark Angel, but certainly a great work that from the perspective of true thrashers deserves at least a careful listen.