Amnesty

Let me start with the only negative point of Zoetrope´s debut: It´s almost 30 years ago that I bought this album. I therefore feel as old as Methuselah. But the more I think about it, the more I have to admit that this is not the fault of "Amnesty"... Thus, I am talking about an almost flawless output of a band whose career ended much too early.

To use their own words, Zoetrope played hardcore street metal. This uncommon description led one to expect a punk-like proceeding and the music of the group really had some punk vibes due to its straightforwardness and the reduction to the essential. But luckily, thrash and speed metal were the main ingredients of the band´s sound. Death metal did not matter although Zoetrope proclaimed on the back cover that this one was "for speed and death metal addicts". The lyrics dealt with military and social issues so that they fitted the thrash metal framework. Especially "Kill the Enemy" reflected the zeitgeist due to the fact that the lyrics were about the Third Reich. Just remember, for instance, "Der Führer" of Flotsam And Jetsam or "The Enemy" (Anthrax). It seemed like you needed a song about Hitler and his entourage to be en vogue. All in all, Zoetrope shone with a consistent concept - and the song material was coherent. The vigorous vocals, the unrelenting pressure of the guitars and the mostly fast-paced drums were the most prominent aspects of the record. Not to forget the extremely powerful riffs that showed only one slight weakness. Therefore, the last song of the A side did not meet the self-defined benchmark. To be honest, that was no big deal in view of the remaining thrashers.

As mentioned above, the band members were children of their time. While being convinced representatives of the exploding genre, they obviously had a lot of fun to spread their music. If you do not get energized by their very lively performance, you probably have died yesterday. Be sure that I feel sorry for you, but I have to focus again on the album. The opener provided a good example for the harsh songwriting approach of the band. It delivered a catchy chorus after the powerful verse, although the band had reduced melodic elements to a minimum. The song, in particular the voice of the drumming lead singer, offered a slightly unsocial aura. Indeed, hardcore street metal of the finest kind. The stomping "Mercenary" followed an other song pattern. I internalized immediately its howling guitars at the beginning and enjoyed that vocalist Barry Stern spread again an atmosphere of discomfort. However, it is almost senseless to work out the best tracks of the record. In terms of quality, there were only minimal differences between the single pieces. But under no circumstances should you miss the fantastic openers of both sides and the title track. Quite apart from their musical quality, these tunes perfectly embodied the spirit of the band.

The production showed no weaknesses. The aggressive guitar sound was more or less perfect, but no instrument came off badly. The same went for the vocals. To keep it very simple, this was just a very good record. While crashing straight in your face, it offered rough metal without technical gimmicks, but with an amazing amount of enthusiasm.

Zoetrope ('e trope') is another of the bright young flames of the 80s, snuffed out when the scene's interest shifted from thrash metal towards other forms of entertainment (grunge, 'alternative' rock, and so forth). But during their prime, they were a pretty good band, and one of the few I would proudly label 'street metal', as the band did. That is to say their songs evoke a low to middle class feeling of bars, rumbles, and crime, all in a crispy speed metal shell which balances both a 70s hard rock/NWOBHM influence and the same punk/hardcore source that helped birth the thrash metal genre. Zoetrope were already in existence for some time before this album, forming in '77 and dropping their first demo a few years after that.

This is a band probably best known for the vocals of Barry Stern (also the drummer), who had a dirty barroom style full of urban anger and expression, and the solid riffs of Kevin Michael, which are huge enough to sate an arena full of headbangers, but hail from the concrete and gutters of the Windy City and its surroundings. Amnesty is one of those timeless recordings which sounds as fresh today as it did nearly 25 years past, and there is a charm to it difficult to place, even if I wasn't enamored with every single track.

It begins with the slower, hardcore rhythm of "Indecent Obsessions", as much Sabbath as punk, and then picking up the pace with a pretty explosive thrash riff, and lyrics about that peeping tom or pervert we have all heard about, through several scenarios. The chorus is basic but memorable, evidence that Stern, though wild and throaty, had the chops and just enough range to deliver alongside other hard rock or metal singers. "Kill the Enemy" is the usual anti-Hitler, megalomaniac ranting, but the guitars are just as driving as the first tune, and Stern adds a little bit of a melody (or scream) to the end of the verse lines, which cycles nicely into the obvious chorus. "Mercenary" kicks into some drums and bluesy, over driven melodic leads before a mid-paced thrashing and excellent chorus vocal, and the title track has a feel of Motorhead meets early Tankard (though this was pre-Zombie Attack). "Member in a Gang" is an honest, blunt title for a scorching, dirty hard rock tune, with a great grungy tint to the guitars.

It don't mean that you're clean, because you ain't killed nobody
Because you know every ruthless scumbag, and that's no lie
But when it's time to get in line, your fear starts to show
But it's your obligation to the devil, because you're a member in a gang

This dirty streak continues, as "Break Your Back" only sounds a few notes away from the iconic "Ace of Spades", albeit more of a US, blue collar steel mill take. "Another Chance" has a solid rock & roll riff for the verse, and then a nice, grinding bridge with some of Stern's best vocals on the album. "Creatures" is a horror-themed tune about the walking dead, and a bruising, cruising guitar rhythm with gang shout chorus, and a groovy ass thrashing bridge. Possibly my favorite song off Amnesty. "Trip Wires" is the finale, opening in a Sabbath-inspired crawl and then busting out some gritty punk metal.

There are very few audible flaws to this album, and it rather perfectly captures the 'street' sound the band were peddling. The sound is excellent, savage and raw without losing the melodic edge. Perhaps the lyrics aren't all that great, or the riffs themselves entirely memorable. It's basic fare, but delivered with an honesty and passion that transfers well into the follow-up, A Life of Crime. This is still a good time if you're cruising around your local urban decay and want to spark up a riot.

Highlights: Indecent Obsessions, Mercenary, Another Chance, Creatures

-autothrall
http://www.fromthedustreturned.com