Power from Hell

Has there ever been an artist that you've really wanted to understand the praise and admiration of but just never got why people loved them? Onslaught is certainly one of those bands for me. One of Britain's top thrash exports (who originally started out as a d-beat punk output in the early 80s), Onslaught are considered one of the early progenitors of the darker side of extreme metal: the black and death metal side. In fact, this album was one of the first to use the term "death metal" to describe the music contained within. Honestly, while I remember digging it when I was first discovering heavier music like Venom and their ilk, I gave it a relisten a few years later and just didn't like it. I figured that it was because I was gaining new musical interests at the time and the off bands I found just didn't cut it anymore, but upon a recent relisten, it just really isn't that good.

The production on this album is what you'd expect from very punk inspired thrash metal. The guitars have a very gritty fuzz to them, which is somewhat unique for an '85 thrash record. The drums remind me a bit of Show No Mercy in their power and reverb, yet somehow they're mixed a bit quietly. Bass is borderline inaudible, but it does sort of pulse up occasionally in the mix. Like a lot of bands I've talked about before, there are two vocalists on this album. Paul Mahoney is the main vocalist, who does the sort of typical gruff UK82 punk shouts of Cal from Discharge but with a bit more of a snarl. Despite this quality, the vocals aren't as aggressive as their punk or even metal contemporaries. That's not to say the vocals are bad, they're just sort of standard. The other vocalist is guitarist Nige Rockett, who reminds me a bit of a vocalist for a German speed metal band (though not any specific ones). It sounds like I'm giving this album a good rating so far, so what's my issue with it?

The songs. My god I don't know how you make a four minute song sound so long but the boys in Onslaught somehow make it happen. That's not to say every song on this album is a boring slog to listen to, but there's a reason Discharge songs are around a minute or two in length on average. While Sodom can certainly pull of violent thrash with one or two riffs in it on stuff like In The Sign of Evil from the same year, Onslaught simply cannot. There's a certain lack of energy in this album that I really can't properly explain. I had good things to say about the production earlier, yet somehow it drains the songs of any energy in my opinion. More on the length of the songs, the best track on this album is only around a minute and a half long. "Thermonuclear Devastation" fires on all cylinders and is a great little track. The absolute worst song on this album has to be "Lord of Evil", which is a mind numbingly boring 7 minute dirge of one or two mediocre riffs and a few little fills here and there. Even the titanic title track seems to wear out its welcome after a certain point. "Steel Meets Steel", "Angels of Death", and "Death Metal" are all pretty decent, yet somehow despite their standard runtimes, they still feel like a chore to listen to. The "Skullcrusher" instrumentals have promise yet still they fall into the same category of being tasks to listen to rather than honest listens. Weirdly, I can't pinpoint just why they seem to drag so badly, they just feel so flat. Look at other stalwart '85 albums such as Bonded by Blood, Endless Pain, Hell Awaits, Seven Churches. All those albums are so madly energetic and lively while this one sort of just stews in a lack of energy. Yeah, the songs are fast, but there's just no feeling behind the speed. Actually, yeah, that's precisely it. The album just doesn't sound lively to me.

I really want to like this record, but it just does not do it for me. I'm sure this was probably amazing in 1985, but for me personally I just do not care for this album. For me, the album is simply uninteresting and unenergetic aside from the occasional moments. I seem to be a minority when it comes to my opinion on this album, as it seems to be almost universally loved by other old school headbangers. Maybe I just don't get it, but I find this record to be HIGHLY overrated. Like I always say though, definitely give this one a shot and hear for yourself. In my experience, you may like this upon actually hearing it. For me though, this record is just as bland as bland can be. Not musically terrible, but just bland.

Selling Cuts: "Thermonuclear Devastation"

The year is 1984, when the NWOBHM was about to end and leaving a major influence on the development of the heavy metal music genre as a whole. However, by then, some bands were already beginning to produce the most brutal shit that people have ever heard at the time, such as Slayer, Hellhammer, Bathory, Destruction or Sodom. The thrash metal arise in the mid 80s impacted basically everywhere in America and Europe, but let's just say that the UK was not one of the most known country to have a thrash metal scene. It came as a surprise to me to get my ears to hear a band like Onslaught. I knew the band for many years, but didn't give them a serious listen until a few years back. What convinced me to listen to that band was because I was looking for bands that played the same style as the other bands mentioned above. What is special about Onslaught is that started out as a hardcore punk band, which isn't surprising from the UK, but quickly switched to thrash after releasing a bunch of demos in '83-'84.

The first full-length of the band called "Power from Hell" was released back in early 1985 and contains over 42 minutes of material on it. The first thing to notice on the album is obviously the satanic themes used like many other bands at the time. Their lyrics are not to be taken seriously though, it just fits the music and nothing unique is displayed here. The sound of the album is actually pretty good even if it sounds like it was recorded in a basement. The drums are the weakest part on this record as they are a little too low on the mix compared to the guitars for instance. Even though this album has 12 tracks, three of them are instrumentals and "Damnation" as an introduction, which leaves us with eight songs. Among these songs, "Death Metal" and "The Devil's Legion" has the guitarist Nige Rockett as the vocalist that I do not really enjoy mainly for that reason since his voice is more raspy and less punkish like those of Paul "Mo" Mahoney. One could say that Onslaught first came up with the death metal name as a genre since they really tried to incorporate that as seen on the album sleeve. However, Possessed did of course created the first song called "Death Metal" on their 1984 demo.

Following the introduction track, the album begins with the classic "Onslaught (Power from Hell)"which is of course the highlight of the album. The track has a pretty simple structure, but it's heavy, fast and has great riffs in addition to be catchy as hell too. We can also still see the punk days of the band on the track "Thermonuclear Devastation" since it's a re-recording of their demos. It's basically a minute and half of pure speed, but nothing so special about it though. Most often compared to Slayer musically, I could agree with that since songs like "Angel of Death" or "Witch Hunt" has a significant similarity in term of riffing, it would not surprise me that the band took inspiration from these guys. Other songs like "Steel Meets Steel" and the two "Skullcrusher" showcase a great level of intensity, especially with those vocals and the more prominent bass on the instrumentals. The guitars riffs are basically what makes this album so good, the solos however, sounds most of the time improvised without any level of complexity, which is not surprising though.

Musically or in term of composition, the most interesting track is the seven minutes "Lord of Evil". It shows a nice variety of original riffs and has a heavier tone than the rest of the album content, the song is more mid-paced through all of it until a few minutes before the end it turns to full speed. In an overview, the album is exactly what a thrasher should want to play, or any old school thrash fans. It has that semi-primitive sound and that punk influenced mood. If you like the other bands mentioned in this review, you might give a listen to "Power from Hell" as you might find something of great interest. It's maybe not one of the most memorable record from that time, but it's definitely an album that I recommend.

Highlights:

Angels of Death
Lord of Evil
Onslaught (Power from Hell)
Steel Meets Steel
Witch Hunt

“Black Metal”. “To Mega Therion”. “Obsessed by Cruelty”. These are all albums that are generally mentioned when the discussion of the early black metal comes up. Each album is rooted in a very filthy, raw blend of thrash metal with elements of what would later go on to become black metal (and death metal). However, not every band that played this style of “proto-metal” would go on to shape worlds so to speak. One such band, would be Onslaught. The album: "Power from Hell"

Hailing from the UK, Onslaught joins the list of bands that dabbled in the mixing of early thrash and black/death elements both in sound and imagery. The music on “Power from Hell” is typical of the proto sound; filthy, raw, fast thrash metal with that extra ingredient of “proto”. The guitars play with a high speed relentlessness that is thick and sinister, creating both heading banging riffs and catchy rhythms. The bass is very murky, creating a nice layer of sound the compliments the guitars and adds to the overall dark and demonic atmosphere. The drumming, while nothing above and beyond, play a very up tempo, pounding and crashing style that drive the songs forward with non-stop force. “Thermonuclear Devastation” is a finer example of the relentless drums and speedy guitars while the epic “Onslaught (Power from Hell)” reflects on the it’s dark and demonic style the proto-black/death metal sound was built upon. Skullcrusher I&II are both instrumental, but I feel display the best of the albums production, as each instrument plays a vital role within each song, and each instrument highlights just what they bring to the table.

Now, Paul Mahoney is the main vocalist however, Nige Rockett fronted the tracks “Death Metal” & “The Devil’s Legions”. Mahoney’s vocals are very rough and have a certain grit to their sound, which reminds me a bit of Venom’s “Black Metal”. They help define the character of this album, being dark and primal in nature. As for Rockett, I really enjoyed “Death Metal”, but his voice sounds a little too crisp and higher pitched, which tends to take away from darkness from which the band dwell. I would say his vocals would fit the sound of a more, straight forward thrash sound.

“Power from Hell” may not be a perfect album, but it was one of the handful of albums at time that explored new territories in metal. Onslaught may not be mentioned as often as some of the bigger players of the time (as their sound would change in the near future), but “Power from Hell” is more than deserving for a nod of appreciation. Either way, for fans of a nice primordial thrash attack or those looking to add to their early black/death metal experience, go ahead and pick this up.

Highlights: “Onslaught (Power from Hell)” “Angels of Death” “Skullcrusher I&II”

Into the Abyss of Oblivion

This is the only Onslaught album you'll really need to listen due to its dark, aggressive, sinister, dirty and hellish sound, something that the following two albums would lack of.

Believe it or not, this is a first wave of black metal album, since it was released in 1985, the same year in which Celtic Frost released "To Mega Therion", which is a black death metal album, and it also has an atmosphere almost as dark and evil as the one present in many old school black metal metal albums, like Sodom's "In the Sign of Evil" or Celtic Frost's "To Mega Therion". Furthermore, the insert in the LP contains the following phrase: "See us in live or rot in hell". And everything in the LP is full of Satan worshiping and hell related stuff.

On the other hand, it seems that by that time, Onslaught was very convinced on believing that they played death metal, since besides the song entitled as "Death Metal", the album inserts mention in both sides "Death Metal", as well as in the vinyl it says side death, side metal; although strictly speaking this album is not death metal at all, in that era death metal wasn't as well defined as it would become within the next 4 or 5 years.

Here we have two vocalists: Rockett, who besides of being the guitarist in the whole album, is the vocalist on the songs "Death Metal" and "Devil's Legion"; and we have Mahoney, the main vocalist in the remaining songs. Actually, their main vocalist Mahoney sounds like Tom G. Warrior, and maybe his vocals are the strongest point in this album. Rockett isn't as good as Mahoney, and he sounds a lot like the band would sound on their next album "The Force", and the vocals from that next album (sung by Sy Keeler) is something I don't like at all; the song "Death Metal" could have been much heavier, aggressive and intense if it had Mahoney on vocals.

Guitars sound muddy and sinister, creating an atmosphere like being on a dark basement, the low-quality sound is excellent for this old school black metal atmosphere. Drums are not outstanding, but they sound good enough and are enjoyable because they get along with the music. Instrumentals Skullkrusher I and II are decent themselves, although they tend to get a little bit boring and repetitive, it is up to the listener to consider them either good or bad pieces.

The weakest songs of the album would be the ones in which Rockett is the vocalist, specially Death Metal which is disappointing considering that it could have been better. Highlight songs include Onslaught (Power from Hell) and Lord of Evil. Regarding the rest of the album, it follows the style of said songs and is consistent as well.

It is normally almost impossible, but already the first output of Onslaught presented the band's first stylistic change. But definitely not their last. Anyway, let's speak about "Power from Hell".

The debut offers a fine dose of death metal after their punk-orientated demos. Only "Thermonuclear Devastation", the opener of their first demo, holds the flag of punk-influenced metal high. The vast majority of the pieces can be allocated to the lethal sub genre. Yet one has to keep in mind that Onslaught deliver a very early form of death metal. Roughly 25 years after its release, the German RockHard magazine listed the album as one of 250 thrash metal albums that everyone should know. (But even the powerless "In Search of Sanity" showed up in this pretty questionable list.) From my present point of view, "Power from Hell" is a hybrid of black, thrash and death metal. But the British dudes called the sixth track "Death Metal" and therefore I do not see a basis for further discussions. I would just like to comment that the guitar lines and the verses of "The Devil's Legion" lie in close proximity to those of Exciter's "Saxons of the Fire", but only intimidated posers would classify this Canadian classic as death metal. Apart from this alarming similarity, "The Devil's Legion" belongs to the best tracks of "Power from Hell". Don't be fooled by its playful guitars at the beginning, this piece delivers pure, fast and dark heavy metal.

Although the abovementioned punk track does not square with the mega-satanic intro, Onslaught prevent to offer a stylistic mish-mash. "Power from Hell" is not the most coherent album of the heavy metal history, but its relatively occult aura is more or less consistent. Of greater relevance is the fact that the band shows its talent for catchy compositions. The choruses of the title track, "Death Metal" or "Angels of Death" will stick in your mind immediately. These tracks withstand the fairly adverse conditions. I freely admit that the full-length is not equipped with an excellent production. A small budget, a deaf producer or both? However, despite its certain dullness, the guitars achieve an adequate level of vehemence. All in all, the sound is acceptable, at least for a debut.

Leaving the minor stylistic twists and turns out of consideration, Onslaught do not surprise with experiments. The song patterns avoid complications and the riffs don't flirt with non-metallic types of music. The carefree debutants do their job and they unveil their affinity for malignant sounds in a clever manner. The fact that the guys also present a certain degree of variety adds the finishing touch.

Is it authentic to modify the style at this early stage of development? I don't know. Perhaps it was an act of survival, because punk died a slow death and metal was in full bloom. But I do not want to speculate about the reasons of the new orientation, quite apart from the fact that the distance between punk and metal is not extremely great. Anyway, "Power from Hell" marked the first step of a remarkable career. The band was seemingly never free from inner conflicts, but this is exactly what makes it so exciting. Besides that, we may not forget that the majority of Onslaught's albums increased the reputation of the British metal scene in a significant way.

I never understood how some people can say this album was in influenced solely by Venom (or even Slayer) Well, it is fast and has an overall satanic lyrical content but that about wraps it up for me. Destruction and Bathory in 1985 were at least just as evil but far more 'metal' vocally and riff-wise. Onslaught were much more on the punk side of things.

What I've always heard here was a D-beat band playing thrash. Of course the guitars are thrashier than your average eighties D-beat band but just play 'Thermonuclear Devastation' and if I told you it was a Discharge cover, I'm sure anyone not knowing the entire Discharge discography by heart but fancying the style would probably believe it. It simply doesn't get more D-beat than this! Exactly what Anticimex were up to as well.

It's not until 'Lord of Evil' the real Venom influences start to reveal themselves. Mostly because for once the pace is lower, there's a sort of arpeggio and singing 'Lord of Evil' is of course more evil than 'Thermonuclear Devastation'. However it's also the first bad song on the album. The simple riffs and monotone vocals aren't good enough to keep a song of this length interesting.

If you listen to 'Power from Hell' as a D-beat album it's very dynamic and diverse. Listening to it as a thrash album probably results in some people finding it too monotone. Maybe it requires loving both the styles to truly understand, appreciate and enjoy this specific album. Who knows. I love it anyway!

'Power from Hell' is were one can truly hear where thrash got it's hardcore punk influences, in this case D-beat in particular, making this album sound extremely British! And because of the average high pace and in-your-face mentality it sure beats the crap out of a lot of 1985 thrash album with a lack of identity or too much speed metal cheese.

Years before they hired Steve Grimmett and sought a more technical and accessible direction to their thrash, Onslaught were one of the more abrasive and filthy speed metal acts from England. Wild and messy burning leads, driving punkish rhythms (they were originally a punk/hardcore band) , and the dirty and aggressive vocals of Paul Mahoney defined the ripping sound of this debut album. Aside from Venom, this was probably the rawest thrash outfit to make a splash beyond the Isles, albeit a small splash. They were also another of those bands which could be considered proto-black metal, due to their vile faux-Satanic aesthetic and unrelenting sound.

Power From Hell is a cult classic for a reason: 12 tracks of sacrilegious speed which display a clear demonic presence (or maybe it was just the drugs). The band blasts out of the starting gates with the amazing "Damnation/Onslaught", fueled by riffs not unlike the early from Destruction, Sodom, or even Tankard's Zombie Attack (though the latter came later). Fun and simple riffing, but delivered at quite an extreme pace for its day. Other noteworthy tracks include the mid-paced "Lord of Evil", the almost prophetic anthem "Death Metal", the bone crushing "Steel Meets Steel", and the searing "Witch Hunt". There aren't a lot of dynamics to this record, and frankly they weren't needed, this album had simply come to sex up your woman and sacrifice her on the devil's altar.

The production is rather dense and dark, with driving, crashing drums, a thick layer of menacing guitars, and a good bass presence (even if it just follows the guitars for the most part). This is probably best delivered via vinyl, like many old albums, but it still sounds great digitally. Many bands today are still aiming for this simplified and effective sound. Onslaught are certainly near legendary as one of the earliest sheer thrash/speed metal bands to embrace this occult style post-Venom, and an essential for purists. The band is still around today with their 2nd vocalist Sy Keeler.

-autothrall
http://www.fromthedustreturned.com

You can say anything you want, but this Power From Hell is the album I like the most by Onslaught. I don’t know, maybe it’s something about the primordial sound or the guitars, but I love it. Listening it on LP is pure orgasm for a person like me who worships anything in this genre during the 80s. They were easily one of the most influential bands in England back in those years and the debut is still regarded as a milestone for the growing extreme metal genre.

They took influences mostly from mighty Venom with that Slayer component, essential in giving the thrash metal impact and songwriting. The production is really cool and underground, with that “basement attitude and style” that is great to give this album a more rare and characteristic touch. The main work is done by the restless guitars, that along the whole LP, are constantly fast on palm muting with a hint of speed metal for the few melodies and, mostly, to be catchy.

In “Onslaught (Power From Hell)” and “Skullcrusher I” the Slayer influences are so evident and audible that are almost embarrassing. The riffage is fast, compact and the drums are constantly on raw up tempo. I can only imagine these songs in a live gig…what a massacre! The solos are fast with high pitched whistles and sudden tremolo picking with always the melody inside. They are still bound to the traditional metal, and England made history also for this kind of music.

The vocals are Venom style with a rough tonality that sometimes goes through heavier tones and passages. The traditional metal influences in the guitars and the Venom patterns are so evident in a song like “Lord Of Evil”, while the following “Death Metal” is something mythical: this is one of the very first examples of utilize of this moniker for the growing extreme genre (in the same year Possessed too used these words as a title for another, more famous, song).

The origins as a hardcore/punk metal band are evident and alive again in several riffs like in “The Devil’s Legions”, with opened chords punkish riffage and less extreme vocals or on the following “Steel Meets Steel”. These are, anyway, just two little examples, because you can find lots of them in the whole length and this is another thing I like a lot. They give the impact and fresh air between the more thrash parts. On the other hand, we can find totally worshipping Hellhammer influences like in “Witch Hunt”.

All in all, a great debut made of raw but catchy songs and, if we want, with a still immature songwriting with lots influences; but this remains a piece of history, showing levels of malevolence that the band won’t be able to reach again the future.

If Onslaught wanted to think they were death metal, what can anyone do about it? As far as I’m concerned, the British four-piece are nothing more than an average thrash band. The overtone of the album is rightfully dark and occult, nothing really unexpected in ’85, and if you’re looking for a second rate Venom with a fragment of the style and constitution, then feast your ears.

The bottom line is Onslaught has a basic, characterless sound. Mostly uninspired songwriting gives birth to many conventional and even dull rhythms and structures that can be construed as downplayed or enlivened by AVM Studio’s thick production, and in all attempts to sound evil and blasphemous, Paul Mahoney’s vocals…I don’t know, I always thought they held the charisma of a mannequin.

First impressions are a bitch, and “Damnation”, the lp’s intro, uses the same pseudo lightning clash and nearly the same voice-from-beyond as Venom’s concert intros. Okay, we’ll let that slide for now, but twenty years will go by along with maybe ten spins of this record and I’ll still remember it. “Onslaught (Power From Hell)” has a halfway decent chorus going for it, sketchily anthemic, and even though the main riff is used to the point of depletion, it still acts to fuel the track ‘til its timely end. Another track overusing the central rhythm is the short “Thermonuclear Devastation”, and the fact that it is on the undersized side is the only thing saving it. “Skullcrusher 1” isn’t one of the worst instrumentals around, providing enough rhythm shifting and tempo conversions to keep the customary listener at bay, meanwhile the second part of the track (featured on side two) at times throws more aggression into the ring as well as some chaos-pitted solos via Nige Rockett. In contrast, you’ll also find one of their most illusive sections here. “Lord of Evil” is long enough to be a deluge of thrash musicality; the band could sign their name with timing signatures and great overactive bursts of euphony, but instead we’re blessed with the same semi-slow, semi-lumbering riff until nearly the end where the four-piece finally realize they could be more involved and multifaceted than a beige lampshade. Quotas of Venom and Motorhead create the mid pace resonance of “Death Metal”, a song nowhere near as blistering as Possessed’s same name, same year offering, and finishes off side one with a balmy heatwave one would find in many territories north of the equator.

Yet again, “Angels of Death” beats the principle rhythm to a watery grave, meanwhile “The Devils Legion” is a little more promising, seemingly heartened by an urgent verve and even though the riffs are on the simplistic side, they manage to purvey a strength aforementioned tracks seem to miss. “Steel Meets Steel” prolongs the previous song’s extra ardor with more above-average potency and some breaks intertwined with a fleeting solo. “Witch Hunt” falters a tad in what the previous three tracks have wrought (which includes lyricless “Skullcrusher 2”) with more rather unfulfilling riffs and a chorus that hangs on the border of ordinary. Power From Hell ends on an up-note with “Mighty Empress”, actually an excerpt of the glorious opus “O Fortuna” from Carl Orff’s 1937 opera Carmina Burana, a piece Sepultura will use in its entirety to kick off next year’s Morbid Visions lp.

A lot of bands like to think they were the start of some fresh new age, but when the sun sets and we look back on the day, Onslaught aren’t better than Venom by the stretch of any demon’s arm and even in ’85 they teetered on the generic. As far as prehistoric death metal goes, I think they should’ve spent as much time paying attention to Possessed and Sepultura as they did concocting their blacker-than-thou image.

Onslaught are one of the few bands with a name that describes them perfectly. This bass-blasting opus of mid-80's black metal is a rather striking piece of musical violence. Sadly overlooked in many circles, Onslaught brought a strong combination of black metal and death metal to the table well before many of the bands credited with that synthesis even raised a note in the garage. While Onslaught certainly weren't the best at this style, they were certain pummeling and set the stage for many great things that were going to come within the black metal genre. "Power From Hell" is a Satanic surge of violence that is more fun than it should be though, and is deserving of your attention.

Killer cuts like "Damnation", "Onslaught (Power From Hell)", "Death Metal" and "Witch Hunt" slam and grind along like bulldozers on fire running through a plate glass window factory. These songs aren't pretty, but they sure as fuck are heavy and give a one-two punch that even Venom would have a hard time matching. (Needless to say though, Venom was much catchier...) Onslaught may not hook you in with traditional heavy metal hooks, but they do most certainly brutalize you with their massive roaring riffs and intense vocal patterns. It's not pretty, but it most certainly works.

Onslaught have been lost to time in an era when people have taken this idea and helped it evolve into the rather sizable "war metal" trend that gave little mention or credit to Onslaught. Thankfully though, people are re-discovering this death/black/thrash classic for being the trend-setting record it is. Much like Canada's Slaughter I think that Onslaught are finally getting their day in court.

This is a solid, if unspectacular speed/thrash album. It has a LOT of Venom moments, both in musical and lyrical content, with the occasional excellent thrash riff. However, some of the song structures are pretty fucking boring, and at times the album is overlong, and the riffs aren't nearly as sharp in some places as others.

The good: Onslaught/Power from Hell has some awesome riffs, including a great thrash riff. Angels of Death, which starts side two, also has some good stuff in there. It's interesting how the album gets weaker as the sides go on, but features a good resurrection in the middle when switching over.

The bad: Death Metal. Sorry, but Possessed pwned your sorry asses on this one. This is just boring.

The rest varies in quality between those two. Sometimes it's more Motorhead-esque than others, especially on songs like "Steel Meets Steel" and "Lord of Evil", which would also do well as Venom songs with more over-the-top choruses. Other times you have more thrashy stuff like "Skullcrusher", but sometimes it seems there are too few really good ideas to cover the whole album. Some of the riffs sound very similar, and it seems you could splice in bits of one song into another and no one would notice. Not bad, just a bit flaky.