The Rise & Fall of Thrash Metal: Part the Second – Smaller Fry
Part I: Flotsam and Jetsam ~ Doomsday for the Deceiver
So we’ve always been talking about those Four. The Big Four. The guys that were real big in that thrash field. Now, let me tell you, there were quite some other thrash pioneers beside those guys, although not as impactful or influential in the eyes of many. Some of these even also released a Big 1986/7 album, although those might be rather be referred to as Small 1986/7 albums.
Flotsam and Jetsam was such a band, and
Doomsday for the Deceiver was such an album. Despite its unknown presence in the wave of big names that the late 80’s brought forth, it packs quite a punch, and can almost, if not entirely, match the strength of the Four. This particular debut is often regarded as their best, and its direction is almost entirely carried by bassist Jason Newsted, who afterwards would leave to join Metallica after the death of Cliff Burton.
Doomsday for the Deceiver’s Flotsam and Jetsam was:
- Eric A.K. ~ Lead Vocals
- Edward Carlson ~ Guitar
- Michael Gilbert ~ Guitar
- Jason Curtis Newsted ~ Bass Guitar
- Kelly David-Smith ~ Drums
Newsted’s presence in Metallica’s fourth
...And Justice for All wasn’t exactly overwhelming, now was it? The album lacked any sign of bass, but this seems not to suffer from it. On the contrary, the bass guitar is quite a strong force here, and the production luckily allows the rhythm section to stick out. Newsted’s most obvious influence in Iron Maiden’s Steve Harris, as he even tries to mimic his trademark gallop, while never quite equalling it.
That’s not where the comparison stops, however. The guitarists shred along in the same constant aggression that Judas Priest pioneered and Iron Maiden further established. There is even some sign of the famous duel guitar lead harmonisations, but in that, Carlson and Gilbert cannot quite match the veterans. Vocalist Eric A.K. continues the state of comparison in sounding more like a power metal vocalist, even more so than Anthrax’ Belladonna, bearing a Halford-esque sound and falsetto.
This means Flotsam’s inspiration comes for the greatest deal from the NWOBHM, but there is a difference that makes it all thrash metal, of course. It’s faster, it’s heavier, and it’s slightly more aggressive. Instead of taking the raw and rebellious energy from punk, the band’s sound tends to veer very much towards the traditional metal scale.
There is plenty of energy, ambition and skilled musicianship on
Doomsday, and Flotsam and Jetsam tend to amaze especially with the longer tracks, most notably the fun opener
Hammerhead, a real high for the guitar-driven presence that is done right straight from the start, as well as the powerful vocal delivery. The 9:11 title track centrepiece really keeps things going, and amazes with fantastic shredding and a very fitting intro.
Where the boys really falter is that they lack a real sense of innovation, and tend to copy their NWOBHM-forerunners just a little too much. Tracks like
Desecrator and
Iron Tears wouldn’t have misfit on early 80’s heavy metal record. That doesn’t mean
Doomsday for the Deceiver isn’t a great record. Flotsam and Jetsam offered a strong slab of metal material, and created an record that is perhaps not essential, but still overlooked by many. For fans of both classic British metal and thrash,
Doomsday for the Deceiver is just a record you should hear.
Essential listening:
Hammerhead
Doomsday for the Deceiver
Metal Shock
Flotzilla
