Master
On the Seventh Day God Created... Master

Chicago, 1983: Paul Speckmann (singer and bassist) and Bill Schimdt (drummer) decided to form a proto-thrash band, influenced by the well-known Motorhead, Venom, and Discharge. Extreme metal did not yet exist, but the two were about to make their contribution to its genesis. It was the beginning of Master's career.

After changing several guitarists, Schmidt left the band, causing its dissolution. Speckmann then founded Deathstrike with whom he recorded an album, but ultimately, decided to abandon his new companions and revive the good old Master.

Their caustic and self-titled debut was released in 1990. Extremely violent thrash metal with death undertones. A record perhaps not excellent but still lovable by all fans of Possessed, old Sepultura, and Slayer. There’s also a brutal cover of Sabbath's "Children Of The Grave". Not bad at all!

In 1991, however, Speckmann made three significant decisions: to change the guitarist once again, to fire the good Schmidt, and to fully embrace the traits of death metal. And so on guitars, we find none other than a young Paul Masvidal (known for his work with Cynic and Death), along with a new drummer: Aaron Nickeas. This "On The Seventh Day, God Created... Master", besides having an imposing title, can be considered a milestone of the genre. Comparable, at least in importance, to the early works of Morbid Angel, Death, and Carcass. The difference between Master and these names? Master will always remain in the underground.

But let's focus on the purely musical aspect. By 1991, they had significantly improved their approach to the instruments. Masvidal's riffs are a certificate of warranty, and the same goes for Speckmann's bass. The drums, however, are a bit subdued. But overall, the album rocks and amazes.

Aside from the malevolent yet understandable "America The Pitiful" (a derogatory track against the USA), the album proceeds with two well-delivered blows on the listener's head: "What Kind of God" and "Latitudinarian". The record continues with other breathtaking moments like the thrash-infused "Used" and the supersonic "Demon". The masterpiece concludes with "Submerged In Sin", one of the longest tracks on the album chronologically.

If Death and extreme metal are among your favorite genres, immediately revisit Master's second creation! A no-frills death metal, certainly a product of its time. And what times they were, ladies and gentlemen!