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The undeniable beauty of incomprehensible undervaluation.
This phrase could describe myriad groups and myriad musical works that, despite being magnificent innovators or incredible interpreters of the most disparate musical genres, have never managed to attract the curiosity and admiration (sometimes morbid) that many people feel for works and groups that are sometimes very deserving, but in many other cases decidedly mediocre. Let's say that many groups (or albums) remain in the oblivion of unpopularity even though they have all the characteristics to deserve the commercial success obtained by those who sometimes have no merits at all.
This boring introduction is to present to you a group that was still missing among the numerous reviews on DeBaser: Flotsam and Jetsam, which perfectly embody what has been said. So... A bit of history...
The group, sadly known only as the debut band of a certain Jason Newsted (for the very few who don't know, he is the former bassist of Metallica), was born in Scottsdale, Arizona, thanks to the aforementioned and then-unknown bassist, back in 1982, immediately standing out with the release of a couple of excellent speed-metal singles, including the legendary “MetalShock” (from which a well-known Italian magazine got its name) and by participating in the seventh edition of the Metal Massacre compilation (which, thanks to the legendary producer Brian Slagel, had already launched bands like Metallica, Armored Saint, Slayer, etc.).
Their sound, at the time, proved to be as innovative as it was markedly anchored to “priestly” and “Motorheadian” influences of seventies memory (with a keen eye on the new Thrash movement made in Bay Area, which was emerging in those years), and it highlighted a speed and a rational and controlled aggression in sound, typical of much more experienced artists, demonstrating an unexpected maturity and intelligence. In the summer of 1986 the turning point came... While the hard'n'heavy music world mourns the sudden and tragic death of Cliff Burton, Flotsam and Jetsam (with at the helm the one who would become the uncomfortable replacement for the poor Metallica bassist) released their debut record with the production of the indomitable and omnipresent Brian Slagel and his Metal Blade Records: “Doomsday for the Deceiver.”
Personally, I consider the album a little gem of the eighties' Speed-Thrash music and certainly one of the 10 most important and representative albums of the American Thrash Metal scene. But probably (and unfortunately), I believe I'm one of the few who thinks so... Oh well... But let's move on to this incredible album... So... Three things immediately catch the eye (or, more precisely, the ear)...
The first is the incredible, pulsating and dominant presence of the bass (played with a pick) in practically all the songs, with imaginative lines never too bound to the rhythms imposed by the guitars. Very young at the time, our Jason manages to stand out nonetheless for dynamism, precision, and virtuosity with a sound always on point and technically impeccable, bringing brutal scenic depth and, I dare say, “malevolence” to the songs (almost all written by Newsted both in music and lyrics, where he had the artistic and creative freedom he would never obtain in Metallica).
The second is the strange (for the genre) and high-pitched voice of Eric A.K. which, with its acute and scratchy timbre, strays quite a bit from the usual vocal offering of Thrash bands in general (much more brutal and “angry”) and approaches, in my opinion, the performances of classical Heavy singers of the almost contemporary N.W.O.B.H.M. (also demonstrating a veneration, by the singer, for King Diamond)... In short... A voice that, precisely because it significantly deviates from that of other groups in the same musical movement, is often (and still today) criticized by many, whereas, personally, I think it fits perfectly with the sound of “Doomsday...” and that it is even better (and more appropriate) than many other thrash singers who were, and still are, praised by critics and the public (who said Hetfield?).
The third is the obvious and devastating desire to break through by a young, promising group full of ideas, openly showcasing a cohesion and a “fun vibe” that surprises with freshness and “genuineness”. All the performances by the different members are noteworthy for their energy and violent attitude, from that of the two guitarists Michael Gilbert and Edward Carlson, who give us a cascade of sharp and angry riffs, to that of the dynamic, precise, and fast drummer Kelly David-Smith, who stands out for inventiveness and variety.
The production is raw as per tradition for those years (especially for debuts) but makes the sound even more compact and sincere. The album, in its progression, is very varied and presents itself (broadly speaking) as a summary of what American metal was in the early eighties (even though very linked to the emerging Thrash movement, and it is noticeable)... It transitions with singular naturalness from the Heavy-Speed sounds of the monumental “Hammerhead” and the “nervous” and “frantic” “Desecrator” to the typical (but not for the time) outbursts of technical Thrash on pieces like “Der Fuhrer” or the whirling “U.L.S.W.”, then confronting more classically typical rhythms with the magnificent “Iron Tears” (which one could listen to indefinitely) or the massive “She Took An Axe” (based on the macabre deeds of Lizzie Borden). But there is also room for Hard-Rock-oriented digressions masterfully blended with Bay-Area Thrash sound (excuse the pun) like on the solid “Fade To Black”. Above all tracks, however, standing out for beauty and attitude, are two pieces that I consider truly memorable and able to equally confront masterpiece songs of eighties Thrash: the long and majestic “Doomsday For The Deceiver” and “MetalShock” (already mentioned previously), two cornerstones of the genre that alone are worth the purchase of the album.
An album to be jealously guarded, which has its strong point in the successful blend of melody (anything but banal or immediate) and brutal sonic assault. In short... One would really have to try hard to find some defect or insecurity in this work, but if we really want to be picky, the only ones that could be defined as such are the not total mastery of their instruments by the two guitarists during the solos, which in some cases are not perfectly executed and with some uncertainties in melodic inventiveness (but what should we say about the Hanneman-King duo then?) and the horrible and banal cover. In conclusion...
This is an album that should not be missing from the shelf of anyone who defines themselves as a metalhead, but unfortunately, it didn't get the public and critical recognition it fully deserved and it gets placed, with all honors, at the top of the “Misunderstood Masterpieces” chart.
What a shame... Truly a shame.
Tracklist Lyrics Samples and Videos
02 Iron Tears (03:54)
What is this game we play with broken hearts and tears?
Been played by young and old for oh so many years,
Can you tell me honestly you've never been a pawn?
Someone steals your love away, you turn around... they're gone.
It is the game of temptation, it is the play of the heart,
Cry out in desperation, Iron Tears take you apart.
Love to you is lies to me - Iron Tears
Love is cruel and lies cut deep - Iron Tears
This time reverse the pain that brought upon your fears,
This time forget the part about broken hearts and tears,
Come on, take command, show no mercy, cruel and cold,
Iron eyes see right through and control the soul.
My love for you is lies you see - Iron Tears
Love is cruel and lies cut deep - Iron Tears
Iron Tears, the tears you cry, are tears enough for all.
Iron Tears, the tears I cry, are tears enough for all.
Now you know just how it feels from both sides of the heart,
Do you like the tearing, or to be torn apart?
What do you feel inside when you bleed a soul?
What do you want from love, mercy or control?
The game of love is made of lies, don't you see?
Iron Tears will forever be. Iron Tears...
03 Desecrator (03:51)
You can't be first, but you may be next,
The next one to betray and chosen to face this test.
When you find yourself scorning the trust and
Find it simple to lie,
Falling easy prey to your lust, giving treachery a try.
You'll soon wish you could die...it can be arranged...
Go right ahead, go on and play your games,
Your time will come my friend, your heart will shred your brain.
When it does, you'll know and feel the wickedness of delusion,
And the pain selfish pleasures conceal.
CHORUS
Desecrator - insanity is close at hand, fear and desolation.
Violator - your conscience will command, no, it's not a dream.
It's a living nightmare - a moment of lust destroys the bond.
Desecrator - cursed jezebel, it will never end...rot in hell.
You weren't the first and won't be the last,
The last one to betray, you have failed this test.
Like a helpless plaything, a powerless victim of lust,
You gambled honor for pleasure, a wager that cost precious trust.
CHORUS
04 Fade to Black (02:07)
The night will fall, the axe will drop,
The key will turn, the door will lock,
The needle will push, the pain will stop,
The scene is set, prepare for shock.
[CHORUS]
Fade to black
Your mind is full of evil thoughts,
Your senses dulled as your body rots,
You will go down on my command,
Your will is gone, fall by my hand.
The night will fall, the axe will drop,
The key will turn, the door will lock,
The needle will push, the pain will stop,
The scene is set, prepare for shock.
[CHORUS]
05 Doomsday for the Deceiver (09:13)
Play heed this take of the prince of darkness,
Whom we're taught to fear from day number one.
The beguiling serpent, king of the underworld,
Betrayer and mocker of heaven's chosen one.
Evil and wicked dreamer, creator of sins,
Ultimate deceiver; longing to take you in.
He promises earthly glory, if you play his game;
"I won't let the firebombs hurt you, just
Number your head and take my name".
Belial begins his scheming, treacherous plan,
Turns brother on brother, toys with the leaders of man.
He creates before them illusions of broken truce,
A wicked plot of deception, that commanders cannot refuse.
In a short time he has control,
USA, Russia, chaos from pole to pole.
Mankind's worst nightmare, it's too late to pray,
Hold tight and take your last breath,
The missiles are on their way... DOOMSDAY!
All over the earth the horror begins,
This time there's no second chance.
Firebombs... deathly flash, vapors spread so fast,
In a moment the world is ash.
There in the midst stands the deceiver
Bearing a brooding smile.
Surrounded by his marked believers,
The masses of unscarred.
Evil's reign, called by the prophets,
Under a darkened sky,
Ghastly sins everywhere, unmarked survivors
Sacrificed as demons dance.
Suddenly, the hordes are silenced,
By the rumbling planed, metalbeast soon to appear,
To challenge the enemy, to deal his doom,
To write the devil's dirge... Doomsday!
The scorched ground opens, the beast of metal appears,
Satan and his army show no sign of fear.
Across desert plains, through city streets,
In the hills evil meets defeat.
Covens one by on fall by metal's hand,
As the dark forces weaken.
The monster rages through the battles,
To confront the master of sin.
As the night falls, the beasts, they meet
And the existing numbered line along the street.
The air is charged with power metal,
Flotzilla's eyes glow as he feeds.
The clash begins, a fight 'til death,
Such power never seen before.
Thrashing jaws, slashing claws,
Dealing the darkside's fate;
The deceiver's doom this day... DOOMSDAY!
07 She Took an Axe (05:16)
A young maiden with a demon in her soul,
A twisted mind with secrets to unfold.
An innocent face, a deceiving smile,
Under no suspicion, servant to Belial.
The axe came down...Blood all around...
She lurks possessed, without a sound,
Butchers her Dam when no one is around.
The next day her Sire feels her wrath,
She has no remorse in her merciless bloodbath.
[CHORUS]
She's Miss Lizzy, she feels no pain
The axe came down
She's Miss Lizzy, she strikes again,
The axe came down...Blood all around
[REFRAIN]
Lizzy Borden took an axe, gave her mother forty whacks,
When she saw what she had done, she gave her father forty-one.
[REPEAT REFRAIN]
[REPEAT REFRAIN]
Now before the jury with a solemn face,
These legendary murders...she left not a trace.
Lizzy found it so simple to take their lives,
Today she walks free...Axe by her side...
[CHORUS]
She took an axe.
08 U.L.S.W. (04:24)
Tonight we take the stage again,
To shock you and capture your holes.
The victims before us, words can't describe,
The kind you seize only in your dreams.
Her striking glance tells the story,
The lust in her mind is plain to see.
She knows that I know what she's thinking.
Thinking of poisoning me...
[CHORUS]
Poison me - snakes that bite - poison me
The time for gashing has come now,
The reptile slithers to me.
Just one more persuasion,
Her cold blood boils from the heat.
Penetration, injection is painless,
Forked-tongue flicking about.
A constrictor in the form of a woman,
With such a grip...I barely got out!
[CHORUS]
I'll poison you with my venom,
Come to me, Viper...and see.
The stage smoulders in silence,
The pounding and banging is done...
For now, only until next time,
When for my venom, again you will come.
[CHORUS]
09 Der Fuhrer (05:47)
Far away across the sea, early twentieth century,
A demon with a man's face.
Rose to power in Germany, dictator-monster, deceiving,
Emperor of the Third Reich.
CHORUS
Zeig Heil! All Hail! Zeig Heil!
Star of David ripped to shreds,
Holocaust, twelve million dead,
Der Fuhrer and his master race.
Red, white and black flies everywhere,
So much power, world beware, Hitler to rule the Earth.
Swastika, horrid miscreation, in the camps of concentration,
God's chosen in that Nazi hell.
CHORUS
Allied forces go to war, bloody battles by the score,
London, Paris, many more.
Air raid sirens screaming loud,
Bombers like the reaper's shroud,
Deutschland terror marching proud.
So much pain and misery, far away across the sea,
Hope he never lives again.
CHORUS
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