Review Summary: Schmier Takes a Sledge Hammer and Kills Random People: The Soundtrack4 of 4 thought this review was well written
You ever watch someone get punched in the face in slow motion? You probably have, and you can’t deny its ability to captivate you into saying “oh s***!” For instance, in UFC knock-out replays, you and all of your buddies will lean forward on the edge of your seats to watch that one punch (or a kick if that fighter was a truly unlucky bastard that night) just land smack-dab in the middle of their face. Now imagine how much that had to have sucked to receive a blow like that, because that’s what it like listening to Destruction “The Antichrist”, an immensely over-the-top berserk trip that’s spitting out anti-social/religious ideals like an inner-city rehab spits out untreated druggies.
There’s that age-old question of “If God exists, why is there so much evil?” The correct question should be “If God exists, why is there Schmier?” For those who don’t know, Marcel “Schmier” Schirmer hates you. He hates your family, your friends, and he’d probably impregnate your girlfriend and bail on the child support payments if he ever got the chance. When he left Destruction back in 1989, the band pretty much died. Without his hellish rasp blasting from the microphone, their edge was lost. After releasing one full-length (which is no longer considered to be part of the discography) and two EP’s, Schmier returned in 1999. After a successful comeback album (All Hell Breaks Loose), Destruction released “The Antichrist”, one of the pinnacles in modern thrash.
What’s so great about “The Antichrist” is just how pissed off it is. Almost every time you read a review on a metal band, someone will say “these guys are angry”. To their credit, they are usually right because metal is a form of aggressive emotion. However, “The Antichrist” is about as angry and f***ing vicious of an album since Slayer’s “Reign in Blood”. The intro broods the feeling of uncertainty with spoken verses about mankind’s worst fear (the anti-christ) before the tribute thrasher “Thrash Til’ Death” lowers its head and charges at you like a bull that has a rubber band around his testicles. What’s that eardrums? You can’t handle it? Grow a f***ing pair. Mike Sifringer’s guitar riffs throughout this album, especially on “Nailed to the Cross”, “Dictators of Cruelty”, and “The Heretic”, are about as frantic as a junkie going cold-turkey; he flies all over his fret board, shredding it into submission. When he teams up with Schmier’s jackhammer bass and throaty screams, it sounds like a stampede is coming straight out of your speakers.
It doesn’t really matter that when you’re on “Creations of the Underworld” you won’t know the tracks have changed, because it’s such a pulverizing experience you just won’t care at all. That’s not to say that there are not highlights as the album churns on, like “Godfather of Slander”, which features effects on Schmier’s voice at points to make him seem like he’s drifting in and out of consciousness, all the while standing next to razor-sharp, climbing riffs from Mike. The last song, “The Heretic”, features some of the best thrash drumming by Marc Reign that’s been seen in awhile, since his style reminds of Dave Lombardo. Marc isn’t a technical jack-off, but he sounds like he’ll put holes through any drum you put in front of him. Most of the time, he’s drumming style really backs up Schmier’s fanatical vocals, which fly all over the place much like Marc’s drumming.
The year 2001 was made into Destruction’s bitch with this album. It takes no s***, and gives as much as it possibly can to whoever listens to it. Schmier is downright one of the most f***ed up and twisted individuals I have ever had the pleasure of listening to scream, and when he’s backed up by equally talented musicians in Mike and Marc, chaos ensues in the form of extreme thrashing. One thing’s for certain and that is if there’s a Hell, every member of Destruction is going there.
Thrash Til’ Death
Nailed to the Cross
Bullets From Hell
Godfather of Slander