Flotsam jetsam doomsday deceiver rar

Eric A. Knudsten's vocals sound more power metal, as opposed to most other metal bands, whose vocals where getting harsher each year. The vocals sound like Geoff Tate combined with Tom Araya, and there are plenty of times when he hits a ridiculously high falsetto note. This aspect adds a power metal feel to the band, which would later be imitated by Iced Earth in their early years. The lyrics aren't as serious, or brutal as Slayer, or Kreator, who sang mostly of death, satan, and violence.

The lyrics are difficult to interpret at times, except on she took an axe which is about Lizzie Borden, who murdered her parents in Doomsday For The Deceiver is one of the few epic, and technical thrash metal albums.

Everybody who enjoys power metal, thrash, or death metal should have this in their collection. These guys are a one of a kind band, and are one of those rare elite bands with amazing guitar, vocals, bass, and drums. Sacramentum Far Away from the Sun. Death Individual Thought Patterns. Immortal Blizzard Beasts. Skyfire Timeless Departure. Skyfire Mind Revolution. Soilwork Steelbath Suicide. Nagrarok 3. Ugly Noise. The End of Chaos. No Place for Disgrace - 2.

On 44 Music Lists. Add a Comment. Apocalyptic Raids November 10th Comments. ASberg February 16th Comments. Look In His Eyes Childhood Hero Bathing In Red Nascentes Morimar Hypocrite Take The Cold Black Cloud Blackened Eyes Staring Better Of Dead Falling Short Always Secret Life Ugly Noise Gitty Up Run And Hide Carry On Play Your Part Rage Cross The Sky Motherfuckery I Believe To Be Free Seventh Seal Life Is A Mess Taser Iron Maiden Verge Of Tragedy Creeper The Incantation Monkey Wrench Time To Go Smoking Gun Forbidden Territories Prisoner of Time 2.

Control 3. Recover 4. Prepare for Chaos 5. Slowly Insane 6. Architects of Hate 7. Demolition Man 8. Unwelcome Surprise 9. Snake Eye Survive Good or Bad The End Blood in the Water What is really impressive about this album is the sheer ambition displayed by the group. This is highlighted by the two epics featured in the album, the self-titled track and Metalshock, clocking over 9 and 8 minutes respectively, which is quite impressive considering they are both speed metal numbers.

Both songs showcase the band's strongest attributes: Excellent musicianship, brilliant songwriting and tons of character, greatly supported by the warm sound, courtesy of Metal Blade's prominent producer, Bill Metoyer. They also share structure. Both begin by beautiful acoustic intros that build up to a speed metal frenzy, a middle solo section and a climactic ending.

Look out for the bass part in Metalshock by Jason Newsted, a groovy speedy riff that is joined and accentuated by the guitars to create a really memorable section.

Equally memorable are the opener Hammerhead a speed thrash dynamite that immediately displays all classic Flots elements , Iron Tears with the indulgence in Eric's screams in the intro! The CD version also contains the instrumental Flotzilla originally released on a seperate EP on vinyl , which is a great collection of characteristically Flotsy! Flotzilla is featured on the album cover crashing Satan, in a very Maiden-esque fashion. The instrumental and the two epics mentioned above also form a trilogy, beginning with the birth of Flotzilla Metalshock and the fight against the devil in the post-apocalyptic world depicted on the cover.

Quite naive and deliciously absurd in the lyrics, Flotzilla is born because of power metal in power metal in the US meant Ride the Lightning or Metal Church Then the monster crashes satan and all is well.

Amazingly, the absurdity of the lyrics is equally matched by the sheer speedy brilliance of the band's perfomance. This album can also be considered Jason Newsted's highest moment. A real shame that he was so underused in Metallica. Newsted was the main songwriter on this album and he also co-wrote some of the best songs in the following album, No Place for Disgrace.

On a more personal note, Doomsday for the Deceiver is among my top metal albums ever. Originally published on www. I'm about as attuned towards the wonderful wealth of 80s metallurgy as anyone. This was the period in which the personal, prepubescent interest in those rocking records I received as occasional gifts from friends and family flowered into an obsession. Hard rock and metal music no longer flew in with the birthdays and holidays, but became something I actively migrated towards armed with my weekly allowance, paperboy funds and earliest teen paychecks.

I've made it no secret that I consider the period to the most enriched and important across numerous sub-genres, but I'll admit that are certain efforts which might be considered 'sacred cows' to some that I don't hold the same high regard for. Before I proceed, let me clear up any confusion: this is a good record. I like a number of the songs. In fact, I'd place of them among my all time favorites from the band. But despite its novel hybrid of power and thrash metal mechanics, and its place as a launching ground for the career of one of metal's most famous bassists, Jason Newsted, I have simply never found Doomsday all that consistently entertaining or memorable.

Part of this is that, in retrospect, I realized just how goddamn great the band would become for its successor. No Place for Disgrace is such a dynamic and inspired beauty of a beast that Doomsday feels 'Plain Jane' by comparison. For example, compare it to Reign in Blood or Master of Puppets. Phenomenal albums. Two of the best I've heard in my life. In any genre. Darkness Descends or Bonded by Blood? Far more aggressive and sinister, making this feel like fluff by contrast.

Flotsam's own "Hammerhead" was never quite so fun for me as that other band's "Hammerhead". But when this album kicks, it does so with a premium gasoline injection. The Arizonans were pursuing an interesting path that placed them somewhere between the West Coast speed and intensity of Metallica, Megadeth and Slayer and the more traditional roots of British influences like Judas Priest. A hint of the same neo-classical picking influence that Texans Helstar would pursue from around can cleary be heard on the 9 minute title track epic, which is easily my favorite single song on the entire album.

Of course, I should talk about the bass, which is great and must have been at least part of the reason Newsted got his gig with the big 'M'. Muscular, acrobatic and never content to simply doppelganger the guitars, Jason was all over this, a more demented Steve Harris, audibly louder than the 4-stringers you'd hear on comparable albums, and rightly so.

The guy is just nuts on something like "Metalshock". I can't speak so highly of the leads, which I find to be the sort of frenetic excess that rarely provokes memorable lines, but the rhythms are solid and dynamic enough that they earn some points with the explosive quirks through "Desecrator" or the substantial 6 minute instrumental closer "Flotzilla" the precursor to "The Jones". Why the album never totally worked for me is just that the songs are not all that great.

Often A. The album also feels pretty long at 55 minutes, and I almost wish they'd just trimmed the three songs I listed above.

Granted, "Desecrator", "Doomsday for the Deceiver" and to a lesser extent "Hammerhead" all provide quite a rush of excitement and hint at the sheer riffing potential and wealth of musical proficiency contained in this group, but Doomsday is just not an album I often wish to experience in its fullness. Brian Slagel and his crew including Bill Metoyer did a good job of capturing the palpable velocity of the band's performance, but even thinking about this debut makes me long once again for its next eldest sibling.

Then again, if I were to face this off against any of the band's post material it would prove an easy victor, a first round knockout. So I'm loathe to challenge it's cult classic status, because at the very least it's a band rising towards its potential rather than crashing from it.

PS: I'm glad they ditched the 'Flotzilla' mascot, which looked pretty dumb. I'm not opposed to it getting its own instrumental though its place in the lyrics to the title track here slightly soils the song. Destiny always reserved quite unfair things for Flotsam and Jetsam.

These guys were some of the best musicians in the genre at the time and this debut, Doomsday For The Deceiver showed already great musicianship and complex structures. The long length, the complexity and maturity of the structures displayed an already superior knowledge of the instruments and the music. The bass is relentless in destroying the chords and the more melodic solo by the middle leads to a far more melodic overture to restart in rage. The two guitarists are unmatchable in both the rhythmic and solo sections.

They are precise, technical and incredibly fast with a particular style that is always polished and never raw. The verses and the refrain are always incredibly catchy and fast.

On this song the tempo changes are again more present and they introduce always fast and melodic guitars solos. There are less thrash metal parts but everything is always good and with the following title track we return to the long length and to the complex structures. The beginning is by two different arpeggio sections in which the atmosphere changes radically, introducing the power of the other instruments.

The feelings are the ones of sadness, obscurity and tragedy. Soon the riffs become faster and more vibrant, passing though different tempo parts and different solos style once again. The catchiness is always essential and even the faster, heavier restarts are full of it.

Even this time the speed is the main point in which they show all the power in terms of drumming and riffage. The bass drums triplets are always perfect to sustain the longer structures. The intensity is always high thanks to the relentless riffage and the sudden restarts by the refrain. However, the maturity of this band is to notice not only on the music, but also for the lyrics.

The music is at first very gloomy thanks to the arpeggios and the solos, but soon it increases in speed and violence. The choruses are a direct reference to the original ones made by the Nazi followers at the time. This song is very evocative and a good point for reflections.

It never fails to surprise me as to why I haven't written a review for this beast of an album yet when the irony is I heard about it for the first time when I happened to open up an old Kerrang issue which spoke about some of the good old years of heavy metal.

As we all know Flotsam and Jetsam is very widely recognized as the band where Jason Newsted got his start, and boy did this album blow or what? Released in the same year as when the big four of thrash metal were basically the talk everywhere in the metal scene and also when Dark Angel released their pounder "Darkness Descends", it's not hard to imagine why this album never got listed on the best debuts of all the time when the fact is it had all the ingredients of being a heavy metal masterpiece.

Call it poor marketing by Metal blade or the lack of interest in the masses who only dreamed of the more commercial bands. The album starts off with one of the band's more popular songs, Hammerhead. Starts off with a solid riff followed by a healthy dose of speed and then comes in the vocals of A. K Knutson screaming away "Hello how are you, waiting tonight" which basically signified just one thing. Flotsam and Jetsam had arrived on the scene. A Great kicker of a song to start an album with.

Next up is Iron Tears with those insane banshee wails and then a neat little thrash me taller. The show has just begun. The riffing, soloing, speed, lyrics and above all the vocals are absolutely explosive. This one's faster, shorter and can be headbanged to. This finally brings us to 2 epic metal monsters. One is the title track followed by Metal Shock. These songs very well proved that although these guys were young, their songwriting skills were absolutely top tier. Unlike those long drawn epics which can practically give the same effect as a dose of sleeping pills these songs would make you crave for more.

Both are timeless absolute classics. Now we have a little tribute to the axe murderess Lizzy Borden called She took an axe which begins with one of the best intro riffs you can ever hear with some superb solos and insanely high pitched wails of A.

Had Lizzy Borden been alive she would have made this her wake up alarm tune for sure. Next up is U. W which has some splendid riffs and soloing but doesn't do much to grab a lot of attention. A good song but not a great one. Next up is a little trip back in memory lane right to the time of World War 2, Der Fuhrer. Starts off with a neat little intro and then comes the magical riff. The chorus is absolutely haunting "Zeig Hail, All Hail".

This is easily the most captivating song on the album. The album comes to an end with a sick instrumental called Flotzilla. The song title could sound a little cheesy at times but trust me, this song can rank as one of the best metal instrumental songs ever written.

I would go as far to compare it with the likes of Agent Steel's "The day at Guyana" or even Death Angel's "Ultraviolence" Overall a splendid album which should have grabbed everyone by the throat but unfortunately never could make that big an impact. To be honest I had never heard of Flotsam and Jetsam before. Among those songs was Iron Tears. Flash forward to late when I discovered MA. Now after reading up on thrash I decided to give ol' Flots a try. Well the rest is just plain, as the previous reviewer said, auditory orgasm.

Yes that's right they're of the same caliber, actually better than, Metallica! For squandering Jason's talents cause this album shows that he is more talented than your entire post-Black album career!

But this is a review, and review I shall. The album starts with "Hammerhead" that has an opening that's similar to "Darkness Descends" but without the distortion part, after that the drums kick into high gear and then comes the bass.

MY GOD! Clearly this is why Newsted was chosen to replace Cliff, but why the hell did the haze him by mixing his bass out?

It doesn't make any sort of sense! Then the guitars, Messrs. Gilbert and Carlson play chords before evolving to absolute god-like riffs! But wait! There's more! They unleash fast, melodic leads until Eric A. Knutson takes charge. How are you?

Ready tonight? Just when you think this song couldn't be more awesometastic tm the solos, them beautiful solos, come in and lead you to the direction thrash should have gone in the 90s. None of that groove bullshit, where the music is no more than a tool for Neanderthals to beat their chests to Vulgar Display of Power my ass! Then Knutson comes back for the bridge to scream a falsetto Rob "Metal God" Halford would be proud of.

One of my absolute favorite openers and a damn fine thrasher. Then comes "Iron Tears", a song about love or something, and Knutson's falsetto starts the show.

You can see why a young metalhead such as I was put-off by this track at first, he is just so over the top! The leads and riffs are again a highlight love the verse riff.