Protector
Golem

Line-up:
Martin Missy - vocals
Hansi Müller - guitar
Ede Belichmeier - bass
Michael Hasse - drums

And who the hell are these Protector? The most obvious question one might ask when faced with the atrocious cover of this work: "Golem".

If you dig deeply into the vast ground of extreme music of the late 80s, all the way to Germany, you may stumble upon this band which has justifiably become a cult today; a more than underground cult, as only a true enthusiast would dream of seeking them out. In these modern times, with the internet and our ability to download everything in no time, I still wonder why people persistently praise the same famous four bands, now commercial, without knowing anything beyond Iron Maiden, Metallica, AC/DC, and others. Are enthusiasts lacking? Apparently, it's the only answer.

These German Protectors are absolutely among the most violent bands in Germany...

Their debut "Golem", marked 1988, is an aggressive piece of work, an unstoppable train that stands out from most bands of the same land. A violent album, therefore, but different from the violence of Violent Force (just to name one), who propose a sort of copy-paste from "Reign In Blood" without a minimum of personality (I consider them useless, forgive me). The strength of these "Protectors" lies in having fused Death and Thrash metal in the same album in an original way, alternating hammering, tight rhythms with suddenly and unexpectedly cadenced parts, enriched by a cavernous growl that would make one think, more than of a simple Thrash/Death, of an alternation between properly Death and properly Thrash tracks. To explain myself better, I would examine the opener "Delirium Tremens" and the title track. The first is an authentic killer track, one of those that literally destroy the unsuspecting listener; the morbid initial riff introduces the fury of the track, which accelerates into the classic devastating 'Tupatupa' typical of Thrash, and then slows down suddenly in the Chorus, where vocalist Martin Missy shouts: DELIRIUM TRE-MENS! Try not to get excited, if you can. The second under examination, the title track, is properly Death Metal since the voice becomes a heavy growl, and the rhythms suddenly become obsessive, very slow, almost touching Doom Metal, and perhaps anticipating what the famous Obituary (known for their slower Death metal compared to others) will do.

Thus, I don’t think I’d be talking nonsense if I started considering Protector as the first Death Metal band from Germany. Note that the guys were very precocious, as in the far west, Death had just finished the slow evolution from Thrash to Death Metal, started with Possessed, Slayer, Dark Angel, etc., and definitively ended in the manifesto "Scream Bloody Gore," published exactly one year before "Golem." This is yet another demonstration of how an underground and barely considered group can, instead, be historically fundamental and influential for many other bands.

But returning to examine "Golem," I would like to talk a little bit about the influences found in this work. First of all, compatriots Kreator, the standard-bearers of Teutonic Thrash Metal, must be mentioned. Do you remember the very raw Petrozza/Ventor duo alternating the role of singer in "Endless Pain" and "Pleasure To Kill"? And do you also remember the violence of those two milestone albums? All this has certainly been a source of inspiration for our band, who also do not hide a vague resemblance to the Brazilian Sarcofago (if you have listened to "I.N.R.I," you may notice some common points with this "Golem").

‘’Certainly the Germans have not been the only violent and usurping people in the history of humanity. Sure, their expansionist nature and tendency to subdue other populations, as well as Nazism, racial laws, and the Holocaust, might suggest otherwise; but what about other peoples? None of them have had blood-soaked histories involving death, killings, and wars? So why generalize and label Germans as ‘all Nazis’ or ‘Führer’s slaves’? Why be narrow-minded and not consider Germans human beings like us?’’

is the message encapsulated in the song "Germanophobe," which invites the so-called "Germanophobes" to stop generalizing about the German people, as no nation is without its blood and violence stories.

The song "Protector Of Death" is introduced by a muffled, dirty sound (like a frying pan), from which Beethoven's 9th Symphony emerges in a 'suffocated' manner. After this 'funny' introduction, a biting riff followed by the classic and fast devastation resumes the same schema of "Delirium Tremens," although not succeeding, in my opinion, in being as effective as the latter. One of the best tracks, "Only The Strong Survive," stands out for its characteristic chorus that aggressively repeats the title of the song. But after 9 tracks of absolute demonstration of skill in being aggressive, a fun "Space Cake" as a closure truly fits perfectly. The singer, who invites us to eat the Space Cake to feel better, manages to be excellent even in tongue twisters: SPACE CAKE, SPACE CAKE, SPACE CAKE! EAT IT, EAT IT, EAT IT! Try to sing it as fast as Martyn does, I assure you it’s impossible.

The adventures of a delicious 'space cake,' with almost Crossover Thrash speed, close this very good album, which I recommend you listen to in order to understand just how valid German Metal is beyond the Triad and other more famous and acclaimed groups. However, do not expect the refinement of Deathrow’s "Deception Ignored" or the melody of Vendetta’s "Brain Damage," but pure and raw sonic carnage that will absolutely assault you, allowing you to breathe only with tracks like the title track.