|Title:||Circles Of Hell|
|Label:||Contaminated Tones Productions|
|Contacts:||Contaminated Tones Productions official website|
After having talked about Black Chalice and Lamentations Of The Ashen in recent weeks, let's keep on examining the releases of Contaminated Tones Productions: the label is this time engaged in a search that delved into the archives of metallic history in order to recover some twenty-five years old material. The object of this operation is Master Fury, U.S. trio formed in the late seventies which released two albums between 1988 and 1989 and split up shortly after. The covered release, "Circles Of Hell", encloses all the music contained in their two albums, "Hell Party" and "Circles Of Hate".
When the compilation begins with the songs taken from "Hell Party", the roots of the Master Fury's music becomes immediately obvious: songs like "Crash", "All Men Are Blind" and "Riot" exhibit the rawness of early Venom and the fury of early Sodom, as well as the refined delicacy in songwriting that was always present in this kind of releases. Classic Thrash-Speed hits our ears while we are listen to "Semper Furious", "Flat Against The Wall" and "Road Hog": the music is aggressive, rude, dirty, fast and recalls the early Exodus, Razor and Whiplash. These words can complete a simple and effective description of what was contained in "Hell Party".
The songs are short, immediate and without space nor time for any kind of nicety, or technicality: some solos without frills, some occasional hint of eighties-derivated melodies ("Time Is Right") and then again thrashing, rough riffs with the sole purpose of being as loud as possible.
Despite only a year passed between the two releases, we can immediately perceives a leap forward when the opening song of "Circles Of Hate" ("Die In You Sleep") begins: the genre references remains the same, but the production is cleaner and the compositions are more mature and varied. The performance is aligned to the classic Thrash of the middle eighties, and in songs like "Lies", "Circus Of Hate", "Corporate War" and "Life's A Bitch" you will easily recognize influences from Metallica, Slayer, Testament, Anthrax, Nuclear Assault, and so on.
The average running time of each song becomes more consistent, the compositional schemes are more elaborated and aware (thanks to the good effect of a less raw recording), and occasionally some dark mid-tempo also come out: all this makes the material more intriguing than the simple blind and bestial fury of "Hell Party".
Thrash fanatics, collectors and metal archaeologists: go on and recover this age-old piece of music (now limited to three hundred copies) that had remained buried in the bowels of the eighties. To close my review, I think the better words are the ones written on the back of the "Hell Party" tape's artwork: if not completely satisfied with the contents of this product, go jump off a bridge and die!