Review Summary: Alice, isn’t it wonderful living life afraid?
Annihilator has always occupied one of the more fascinating niches in the world of thrash metal. They approach the genre with a shredder mentality that balances technicality and accessibility, never hitting the out there territory of Watchtower, Coroner, or their fellow Canadians in Voivod but rather seemingly serving as the next step up from groups like Megadeth and Testament. As seen on their debut album, 1989’s Alice In Hell, these traits were well-defined and bursting with personality from the very beginning.
You also can’t talk about Annihilator without going into bandleader Jeff Waters. It’s likely not controversial to consider him one of the greatest guitarists in metal; his mix of ultra-fast rhythms and incredibly precise lead work were no doubt the envy of any aspiring player while throwing in just enough note phrasings and quirky touches to make him recognizable to even casual listeners. He also gets the jump on his peers by utilizing the bass as a separate instrument rather than just an extension of the guitars, leading to many exciting off-the-wall bass lines throughout. No wonder Dave Mustaine wanted this guy so badly.
Of course, Annihilator albums can be defined just as much by the other players and Alice In Hell is no exception. Drummer Ray Hartmann’s skills are certainly commendable for keeping up with the acrobatics on display, but vocalist Randy Rampage proves to be this album’s most notable it factor. The former DOA bassist turned thrash yeller is like a Canuck Paul Baloff in some regards, not a skilled singer but rather having his raspy snarl sustained by energy and morbid charisma. His croaks combined with a raw production job are major components to the album’s haunted house atmosphere.
Speaking of which, the title track plays like an encapsulation of everything that defines Annihilator as an entity. Its extended instrumental intro seems to go out of its way to impress the listener, going through about twenty different riffs in rapid succession while somehow maintaining a perfect storm of theatrics, showboating, catchiness, and dynamic shifts before the meat of the structure even comes into play. The song’s haunting tinges, ominously rhythmic verses, call-and-response chorus squeals and shrieks, and brief falsetto-driven bridge would be enough to be iconic.
Subsequent songs could’ve been overshadowed by such a monumental track but several end up being staples in their own right. Tracks like “W.T.Y.D.,” “Wicked Mystic,” and the closing “Human Insecticide” demonstrate the band to be at their best when opting for speedy momentum as each track squeezes in plenty of blazing guitar exercises, dramatic builds, grim shouts, and strong chanted choruses.
Elsewhere, “Burns Like A Buzzsaw Blade” takes it a step further with an especially pummeling set of rhythms that suggests the sexual lyrics depict the rougher side while the mostly instrumental “Schizos (Are Never Alone) Pts. 1 & II” is delightfully scatterbrained between the disorienting tempo shifts, busy shuffles, intrusive sound effects, and vocals only coming in with title shouts.
However, the album does have a couple flaws in its layout. The opening “Crystal Ann” is no doubt a gorgeously ornate acoustic piece but may be a bit redundant when the title track follows it up with even more finesse, suggesting that a later placement in the song flow could’ve helped it stand out more. “Word Salad” and “Ligeia” are also pretty good songs though the former’s jumpy rhythms and the latter’s more straightforward switches are done better by other tracks.
Alice In Hell may not be my personal favorite Annihilator album but its exalted status is very well deserved. While its gritty demeanor can set it apart from many of the band’s ensuing efforts, it also establishes many of their signature traits. You can sense the dedication that was put into fully realizing these songs, putting in the sort of prowess that makes their compositions shine even more. It’s just weird enough to not feel generic but is approachable enough for thrashers still getting their feet wet in the genre.
