Taking the NWOBHM informed song structures that defined speed metal and the muted, percussive power chord led riffs that were the pattern language of the speed metal underground, Nuclear Assault incorporated elements of crossover punk and thrash into their music. Guitars have a sharp, grating and garage like-tone amidst the clear sounding and well thought out bass guitar lines of Dan Lilker. John Connelly’s punk falsetto is excellent, a gravelly yet apocalyptic wail that amuses yet inspires.
Lyrically this takes the satire one could associate with crossover acts such as Adrenalin O.D. and Fearless Iranians From Hell, and rather than solely attempting to amuse us, makes for relevant social commentaries that reflected and mocked the issues that were heavy on the American subconscious, amongst mildly apocalyptic themes that still were embedded in the Cold War’s late phase, warning of post-nuclear desolation.
Short, humoured and abrupt songs such as ‘Hang The Pope’ and ‘My America’ resemble a more aggressive take on the thrashings of DRI and Millions Of Dead Cops, whilst ‘Sin’, ‘Stranded In Hell’ and ‘Brain Death’ are richly melodic and have a brilliant sense of irony, and almost reminds of Iron Maiden stripping themselves of romanticism in the wake of an uncertain, primitive future.
This is commonly also available with the follow-up EP ‘The Plague’ on CD format and compliments the excellence of their full-length. In addition, this is a timeless and influential metal album that summed up the hopes, dreams and fears of 1980’s America in less than an hours worth of material, and is absolutely essential.
-Pearson-
No CommentsTags: Apocalypse, Crossover, crossover thrash, Game Over, Hardcore, Humour, Nuclear Assault, Realism, Speed Metal, Thrash, thrash metal
