The Bogeyman

I've known about Death Power's music for several years, and to be fair, the only song I ever actually knew by them during that time was "The Bogeyman". The title of this release, too. So, I guess it's a suitable fit. Anyways, I want to keep this as level as I can. So, without doing much more of a introduction. I feel it's about time we hope into this. But of course, not before I mention that the band aren't active at the point in time, during this review's publication (I think that's the right way of phrasing it). And according to this site's source, they were from France.

As the years slip by us more-and-more, the releases of the '90's will become old, and so will the people born during those times. It saddening that we'll all end up dead, but I guess being dead is better than being in bondage, especially if some of our lives do suck. And here I go again being an idiot and writing about personal feelings. Pfft, fuck me...not physically... Basically, since this band had a short run, they're not well-known. And this release is obscured, badly. It's getting older, and people need to get off their asses and discover this shit before they get too old to even care.

The album has decent mixing, just overall. Nothing stands out from each other, so that tells me that the engineer knew what he was doing. And yeah, I'm being "sexist" because it was likely a guy who would have done this job back then. So, don't like it? Fuck you. But it's also worth noting that this album's production is muddy, and yes...we should all know why that is... I shouldn't have to explain it, but I will, just in case you are an actual idiot who's reading this, it's from the '90's. There, now you happy? I'm not, I had to waste time by writing more lines.

So, I've heard this record as a whole recently, instead of the one song that I mentioned earlier on. I really feel this band had really good musical intentions...only thing is, it didn't happen. So, as I've listened to this, the more interesting I found it. Generally all the songs have a "wild" nature, have a very "energetic" side to them. As if new life was being formed. And it literally was...musically. And this album is pretty solid, too. Why is it that the obscure bands with obscure releases, sound better than popular bands with popular releases? Probably because with an obscure project, when people discover these bands and their releases on their own, they appreciate the discover that very few know about and keep it close to their heart. At least that's how I am, bitch.

The riffs are quite groovy, every song have the same atmosphere and comfort zone. But at least it's not like having stale ideas and they sound bad or the band being lazy and using "filler" riffs. No, everything here sounds pretty good, honestly. Though, if this album was even a few minutes longer than it was, I think I could have appreciated it even more than I do now. But with such a high rating I'm giving it already, it shows how much I care about this record. It's great. And it's worth listening to over-and-over. And chances are, you won't get bored of it because it's just a "refreshing" taste that more bands should have had.

The drumming on this record is so, so fast...and also, so, so authentic. It's fucking amazing. Blasting every hit with a thunderous force. The only problem with that though, is the foggy production of the stems. So, it would have been a little "cleaner" if it was a "newer" release. But honestly, I can't really complain much here. This record's bad qualities, are easily outweighed by the good. Not really saying it has any bad qualities, but you get the idea, at least...I hope you do. If no, you're in trouble...and no, not serious trouble. I'm just saying you really are an idiot and you likely need to go back to school and get an education.

You know, it's pretty bad... I always have to have YouTube to stream these releases because you'll never find their physical copies, which is a damn shame. And people always bitch saying... "Well, if you go to iTunes, you can download all these good metal songs as long as you pay! And help support those bands!". The problem is...a lot of these really, really obscure bands, aren't even on those platforms to begin with. And another thing, what if a band don't want to be on a major platform, then what? You know, there is a lot of bands out there who aren't "sellouts" and want to stay true to themselves. If you want to release music for free, go ahead. Your choice. Bands these days have ways of doing that to help promote themselves with Bandcamp and Internet Archive, in case they want to release content for free.

Anyways... I still consider "The Bogeyman" song to be my favourite. Probably because it's the only song I've known by them for a long time, until recently. This whole record would be a breath of "fresh air" for anyone wanting to listen to old school thrash metal. I should mention that the vocals have that funny "French" accent. Especially on "The Bogeyman" song. So, I always found that to be strange, but it works. And that song alone has some insane drumming on it! If you ever find this on CD, cassette...whatever it is...you better take the fucking thing...just to say "you have it", you know? Good album. Well, amazing album, actually. By a really awesome-sound band!

Death Power


“You the most demoniac of Angels And cruelest of Demons The Prince of Exile & Hell”


Yeah that’s right, a thrash band - From France. Are they crazy? Yes. A lot of French metal from the 80’s (that’s actually known outside of the place) tends to be either straight up heavy metal or hard rock – with few exceptions that I know of (Blaspheme). This leads the excellently titled Death Power to be somewhat of a curiosity – one of the only French thrash bands from the 80’s I’ve heard. But was I impressed? – Yes. This is a solid old school thrash outing, in the more simplistic vein of Hexx and Backwater rather than your technical, masterpiece overtures of Flotsam or Germanites Mekong Delta. Touches of the crossover brand are also evidenced on this piece which is generally strong with excellent little pieces accentuating it as a whole. Another strong Frankish offering, this is the bands only full-length; the rest of their catalogue is typical of your more obscure thrash band, with EPs and singles in place of album laden-ness.

Anyway, vocals on this one have your typical gruff sounding ‘deathy’ delivery like Destruction and other great German bands of the era – no doubt taking pages from these legendary European stalwarts, who were turning heads in Europe with their bullet belt and leather approach to heavy metal winning many hearts at the time. Your rough deliveries of tracks like the blisteringly paced ‘Away With You’ are aggressive and fucking thrilling. Even in the track ‘Vivisection’ – with it’s presumably wimpy (?) lyrics about freeing the animals and running free with them in a sun-baked meadow, David Thimel’s vocals are fucking evil and menacing. The extreme ‘deathy’ growliness in the slower section at the end (which is nicely twinned with two good tracks) is the highlight of this effect. Anyway, ‘Vivisection’ with it’s political undertow, brings out more of the punk/crossover credentials I might have mentioned – with this touch coming out in other numbers also.

Your title track – the ridiculously monikered ‘The Bogeyman’ tackles obviously silly subject matter and might’ve won more hearts if titled ‘Evil Night Lurker’ or something in this vein. However, this is a strong slower number – very much evoking crossover thrash, with comparisons to Suicidal Tendencies and DRI being possible due to the edgy ‘who gives a fuck attitude’ to the vocal delivery and the menacing, yet lighter riffage. Your bass and drum combination on this one also sound ‘lighter’ – not the doomy thick as leather sound to them that other thrash attacks have. The supreme speediness of the section that starts at 4:00 is excellent – very much another crossover reference that’s thoroughly mosh-worthy. This is a well crafted number – yet not your standout track. It’s also epic at five and a half minutes, carried through which menacing shrieks at the end moments, coupled with a doomy chorus of vocals that sounds like something Angel Witch or Pagan Altar would do.

Anyway, more thrash/crossover is found in ‘March of the Dead’ a blast-beatish affair drenched in Venom, Sodom and Kreator-ism that ANY thrash fan will nod their head to. This full blown song charges like the black knight running down a weak mere mortal for the most part, with sad and gloomy (suitable to the subject matter) little bridges that are kinda like breaks the band needs to take when playing this phenomenally paced mach 3 number. The black knight that is Death Power, with his appropriate title, is not finished mowing down enemies yet though, and it may interest to know, that in typical warrior-like fashion, he has no regrets, and continues the all out assault to banish wimps in the satanically themed epic ‘Satan’s Litanies’ a fire and brimstone piece that’s pure evil. From the doom of the short intro effect, you know for a dark imagery obsessed pure piece of fucking evil thrash – and you couldn’t be more clearer. Though Venom’s first material came out ten years prior to this one – it doesn’t show; this one is evil, raw and satanic, with all the bass-guitar worship and hooky rock n roll-ness of the aforementioned. Dark reverberation of the vocals and typical ‘evil laughs’ are positioned well with screaming raw as anything lead mastery – a fucking blistering number. I’m not done praising this one though; it also contains great gang vocals – a hell-spawn of demons get into the Satan-worship in this cut – giving forceful ness to its powerful imagery. A fucking album highlight that any fan of dark thrash will love – centrepiece epicry.

‘Stop Time’ refuses to acknowledge gods other than Venom, considering them false idols, who need to be mowed down by the axe man. This one’s got variety; with your faster bits and your slower pieces concentrating on double speed bass kick and hi-hat/cymbal crashery. The excellent, speed metal touches of the latter part of this number are brilliant. A memorable riff here, that is given added forcefulness by extra tracking and finishes with strong shouted gangness. Anyway, double-kick in this band is great, while it could be mixed better, effective in most tracks, especially the Slayer-esque and ‘widdly’ riffed ‘Begin the Sacrifice’ with its thrash-cliché title. This is a strong introduction to this great band, but may not be the best song on the album. There’s a great hook of a chorus in the shouted title of the song – this would be a thriller to sing along to live – fists pumping – air guitar raging, and the distinct taste of other peoples sweat seeping into your dehydrated mouth. A fucking rager of a number. Bass is prominent in this song – but possibly not the best mix; something that can go awry on 80’s thrash releases quite frequently – with American bands probably faring better. Anyway – this number will not let up and will not be forgotten. Just fucking hear the thunder.

This album kills – these French lads nailing a great sound that while heavily Venom/Sodom influenced, who the hell wasn’t at this time? A late thrash release that doesn’t suffer from it’s date – contrarily this offering benefits from the time the band has had to hone their efforts – a couple years spent mastering some excellent orchestrations that pays off in this phenomenal unheard-of classic. This one is thrash metal with no bullshit – no long progressive passages or focus on pompous touches – just furious Venom-ous assaults with all the right riffage. Your vocals are nasty ballsy growls with no soaring highs, common of bands like Flotsam or Anthrax. Pretty much every song’s a winner on this fine piece of genre execution – do not go without hearing it as you ARE NOT thrash if you don’t have it.

-DeathRiderDoom