Monument

"Monument" was harshly criticized by the German metal press at the time of its release. I agree that it cannot compete with its predecessors. I also admit that it has its lethargic moments, an absolutely embarrassing cover version and the production, which lacks of ups and downs, does not ignite a fireworks of emotions. Nevertheless, this is Hallows Eve and a band with legendary tracks like "Plunging to Megadeath" or "Nobody Lives Forever" has too much creative potential to release a complete flop. Therefore, the German metal press can piss off, here comes, better late than never, the German (partial) rehabilitation of "Monument".

One thing is for sure, the third album did not appear as the next logical step. Instead of expanding the varied approach of the overwhelming second album, "Monument" surprised with pretty simple compositions. This means concretely that almost everything depends on the quality of the riffs. Fortunately, there are some riffs that hit the nail on the head. One may call them simple or even primitive. Anyway, they are anything else but shitty. For example, "Rot Gut" is almost phlegmatic, but its title pleases me, because the riffs of this slowly creeping monster really have a rotten charm. Of course, this slow-moving tune seems to suffer seriously from apathy. But in spite of this handicap, it does not fail to have the desired effect. The ponderous title track is also more dead than alive, but once again this does not affect the quality of the tune. Despite its comatose state, the composition works. It's a mystery.

Additionally, there are more spirited songs. "No Sanctuary" is more or less lively. Placed on the last position of the running order, it seems to be the counterpart of the likewise vivid opener so that it closes the circle, at least as long as we ignore the absolutely moronic outro. But all these positive aspects cannot hide that the single pieces seem to be the product of guys who wanted to finish the song-writing process as soon as possible. A certain lack of ideas is omnipresent with the effect that the band stretches some riffs endlessly. Even tracks like "The Mighty Decibel" leave a slightly irritating aftertaste, although its inviting beginning, the casual riffing and the effective chorus are not at all bad. One reason for the unadorned appearance of the songs is the vocal performance. Stacy Anderson tries to frustrate the listener with his soul-destroying singing that lacks of power and expressiveness. Lo and behold, he is pretty successful. Congratulations!

As indicated above, the production is not free from defects. The monotonous sound emphasizes the uniformity of the relatively repetitive songs involuntarily. In view of the evident deficiencies of this mix, it takes time to realise the specific flair of the full-length. That's a pity, because "Monument" is actually worth listening to and I do not know any other album that propagates this combination of indifference and morbidity in a similar way. Thus, "Monument" marks a unique album. I am sure that I do not need to explain this slightly poisoned compliment. Just as a reminder, nice people like Albert Fish, Adolf Hitler or Elizabeth Bathory were also "unique" in a particular manner.

"This era, this music, this scene / Our great monument to nothing" is the first line of the title track. I don't want to sound like a disillusioned geezer, but I fear that Hallow's Eve were right. Most likely there is no deeper sense in heavy metal and it is pretty nonsensical to worship this music. Nonetheless, I am fascinated by this monument.

Well it took some time but I have finally gotten around to this review. As you could’ve probably could have guess by my earlier, and less matured, reviews of Hallows Eve you would’ve thought me a fan. This is true in all respects as Hallows Eve to this day still ranks as one of my favorite thrash bands. To me this troop of four is one of the best at constructing well written, crushing mid-paced thrash metal, although it wasn’t quite present on their bombastic debut “Tales of Terror” it came through in a very evident manner on their sophomore effort “Death & Insanity” now here we sit in 1988 at the band’s third album, and the final of the classic years of the band. As I’ve already stated this review was a long time coming, I’ve had my copy of “Monument” for most likely a year and a half now and it has taken me quite some time to properly gather my thoughts about this CD.

Two years ago I raved about “Death & Insanity” being the be-all, end-all of Hallows Eve’s discography, but with songs like “Lethal Tendencies”, “D.I.E.” and “Nobody Lives Forever” who wouldn’t. But upon my first listen through of “Monument”, my jaw slammed to the floor in amazement. They had topped their previous release with gusto. Every department of the band’s sound had improved, the vocals clearer, the riffs better constructed, a sharp sound so tight you could bounce a quarter off of it, and all without forsaking a memorable listening experience (many times after listening through this album I’ve caught myself humming out “Speed Freak” or the title track). This album the band continues the slower, more crushing vein of thrash that they made on “Death & Insanity” with a nod or two to the debut’s speed metal frenzy style (see “Speed Freak” or “No Sanctuary” for this). But for the nearly forty minutes that this album runs the listener is constantly barraged with quick memorable riffs, allied with a sharp snappy bass and a heavy set of drums not just adding a rhythm to the sound, but really adding to the experience.

The polished production backs this up; giving a nice gleaming sound that retains some of the mandatory rough around the edges thrash sound. Also worth noting is the guitar tone of this album, while nothing extraordinary, like Ed Wynne from Ozric Tentacles, it has that sort of crunchy tone that was used by many bands of the day (Coven from Washington and Mandator from Belgium most notably).

The album starts out with a bombastic call back to the band’s earlier days, “Speed Freak”, which is as the title suggests a speedy number much like what one might find on the debut “Tales of Terror”. Song features an absurdly simple riff, some gang vocals and a chorus that will stay glued to your mind. Also worth noting about the opener is the break in the middle, sounds quite a bit like something you would hear from the likes of Nuclear Assault, crushing and has a nice build to it before exploding back into the main riff. The proceeding track is a cover, and a very well executed one at that. Hallows Eve take Queen’s “Sheer Heart Attack” and transform it into their own kind of monster (it is worth noting at the point I had first heard this album I had never heard the original rendition of this song and the chorus had caught me off guard making me think that my CD was skipping). Monument then veers off into the mid-paced territory explored on “Death & Insanity” with the next two songs “Rot Gut” and “Monument (To Nothing)”, “Rot Gut” easily being the slowest album from the album featuring a spat out verse following closely to the guitar’s doomy beat. “Monument (To Nothing)” a song telling the story of the music scene of the time the song was written (“This era, this music, this scene, all a great mon-u-ment to nothing!”) features one of those memorable gang-chant choruses paired upon a simple but effective riff.

As the album continues forth it speeds up a bit, with the exception of “The Mighty Decibel” a slower track much like “Monument (To Nothing)” in song structure. The other three tracks on this end of the album “Painkiller”, “The Righteous Ones” and “No Sanctuary” all have that speedy sense that “Speed Freak” had at the intro. “The Righteous Ones” opening up with a mid-paced riff that one would have expected to hear on Coven’s “Blessed is the Black” before breaking into a full speed frenzy.

This album marked an end of an era for Hallows Eve; this was the last album before their break-up and eventual re-union around 2004. They were able to re-obtain the sound that they had achieved on “Death & Insanity” and “Monument” but both albums still hold the test of time. The true shame is that Hallows Eve never was able to break out of the underground despite, label backing and well written songs, but so long as the albums are found and enjoyed by metalheads their name will live on.

While it may have lacked the dark and raw appeal of previous albums Tales of Terror and Death and Insanity, Monument made up for it with more consistent songwriting. There is a simplistic and plodding feel to this album, not unlike ...And Justice for All or many of Sacred Reich's earlier records or D.R.I.s pure thrash phase. It doesn't always hold up to time, but there are some songs here which are still pretty catchy.

"Speed Freak" is one of those songs you hear and think even by 1988, how could someone not have already come up with it? The chords used are very basic but perfect for a very bludgeoning and memorable track about a high speed lifestyle. Is it about drugs? Is it about driving? All I can tell you is I like the self-reference to 'lethal tendency' (one of their best old songs). The cover of Queen's "Sheer Heart Attack" was passable but Stacy Anderson's vocals are a little goofy. "Rot Gut" is a nice redneck thrash anthem. "Monument" is a pretty powerful title track, and again it has some very simple but catchy thrash guitars. "Painkiller" and "The Righteous Ones" both rock, and "The Mighty Decibel", though silly, is also memorable.

Guitars are crisp and Anderson's vocals sound pretty good here for the most part. It does lack the heavier, crushing tone of its predecessors and I'm not sure the cleaner mix works in its favor, but it's not bad. This is the type of album that was never quite 'excellent', but it was good back when and it's just about as good now if you don't mind a simpler style of thrash. Just don't expect anything mindblowing and you may find that you like it. Certainly better than any of their disappointing reunion albums of the past few years.

-autothrall
http://www.fromthedustreturned.com

Ahhhhhhhhh, Hallow's Eve, good old thrash from the southeastern United States. This was an underground band which had mixed amounts of "success". They never (to my knowledge) caught on with a major touring package, however, they did have a song ('lethal tendencies') included on the movie "Pacific heights" (Michael Keaton plays a psychopath-but that's another review) soundtrack, which is a pretty cool feet for an underground thrash band.
This is their third album, and it's a good one. Stacy Anderson's vocals are kind of like a rougher version of Blitz from Overkill. this is mid-paced thrash 9meaning, it's still thrash, but not just a "speed freak" of an album). The guitars have a good level of crunch to them and each song has it's catchy thrash (mosh) part. Some people hate those aspects of 80's thrash, however, I love them. get the head a banging.
Standout songs include; 'Speed freak' (catchy as hell opener with a riff that I just half to hum along to), 'Rot Gut' ( a slower tune which allows the music to breath and cause your head to bang), 'Mighty Decibel', and 'Monument'. I never been much of a Queen fan (the shame, I know), nor a fan of covers of their songs, but Hallow's Eve does a kick ass version of 'Sheer heart attack'.
The choruses are of the shouted variety and each songs has hooks which make it stick to you. The album is short (under 40 minutes) which makes want more when it's over. I don't know what caused their spilt (lack of success/progress is what I think I remember them saying), however, I wish they continued to make albums as all three of three albums from the 80's are underground gems.
They have since reformed with a different vocalist and sound, but for my money the real Hallow's Eve ended after this fine album. A fine addition for the thrash fan, and one that shouldn't be all that difficult to find (I believe all three are now offered as a box set). Go suck some rot gut and clean your gun!