Talk of the Devil

Formed in 1987 by the former members of heavy metal band Ария (Aria), Мастер (Master) struck with thrash metal. They were one of the first Russian thrashers and were at first backed by the USSR state label Мелодия (Melodia). By the third (or fourth, depending how counted) album 'Talk of the Devil', they had joined the ranks of Moroz Records, which is solely a metal music company.

The line-up of ex-Аria guys Andrey Bolshakov (bass and backing vocals) and Alik Granovsky (guitar and backing vocals), and vocalist Mikhail Seryshev who also did opera, was half of the earlier roster. While the previous album was just over 30 minutes long including two short instrumental songs, this would have been samey, if there wasn't a thrashed up version of Black Sabbath classic 'Paranoid' (which is surprisingly well thrashed up). Well, there's no chance of complaining about "too much, too much" like some well known thrash metal bands' discography whose platters were twice as lengthy.

Master's music here cannot be called as original or unique in any way, because each of the songs remind at least one or two established bands' music. Like so many times before, the mixture of German and US thrash metal bands of the period is what happens here. Destruction, Testament, Tankard, Forbidden, Sodom, Death Angel... to name a few. However, the entertainment level is absolutely skyrocketing after the overtly dramatic synthesizer/choir introduction (while fine, it simply does not fit with the rest of the album's music, because it carries gothic vibe more like). However, it's not rocket science.

The songs mostly consist of tight thrashing parts and mid-paced stomping, but there are moments with funkier grooves or where melodiousness flows. The riffs are often catchy, so it is memorable as the songs are kept rather simplistic, but it's no Hellhammer, you know. What it does contain are some acrobatic bass bits and guitar soloing; it is both straightforward and technical with lots of nifty little instrumentation. The lead guitar sections are often absolutely great, but quite rare, sadly; and there's a bass solo piece for all of bass guitar aficionados. Mostly this has thrash-screw really tightened up, but there's also more loose, groovier vibes floating on (e.g. 'Tsar'); they take turns, but do not cause incoherence. Generally, this isn't a heavy or very aggressive at all, but it does its job, and at times even semi-melodic. It's good to have varying feels, even on a short album like this.

The band sounds like an well-oiled machine, and there's no weakness in performances. As mentioned, there's some crazy bass-movements here and there, but the drumming could have been a tad more imaginative. The vocals are good: One of the rougher ones remind me of Destruction's Schmier, and more melodic voice is similar to Paradox's Charly Steinhauer. There are some odd moments, especially something like 'Tsar', which I take as a joke song in a way. Well, a short album like this would have been better without jokes... The production job is dryish, but presents every element well.

'Talk of the Devil' is a fine piece of thrash metal history from Russia, and maybe the first thrash metal album from that country, since this was recorded at the end of 1991. If you want to turn off the main road of thrash, and go adventuring on back roads, this isn't a bad idea at all. It has its quirks, but at least it's not a carbon copy of Western models.

P.S. Be careful which reissue edition you pick up, because there was a lame 4-page CD-Maximum CD edition released together with a 16-page edition (with lyrics and old photos galore). What a dick move! Take a guess which I happen to own?! Yup, because I didn't know there are both a simplified and full editions. Score is for music this time around, not the whole.

(Originally written for ArchaicMetallurgy.com)

"Talk of the Devil" was the third album of the "official" pioneers of Soviet thrash metal. "Official", because in the Soviet Union they often performed in large venues, were shown on TV sometimes, their albums were released by the state-owned major record company (Melodiya) – well, this is not underground at all. So, "Talk of the Devil" is classic thrash metal of Teutonic influence, very dynamic, played mostly with down picking. In their turn the high-pitched chaotic solos are reminiscent of Slayer, although without the very mindbending wildness from "Reign in Blood". This similarity is manifested most of all in the sixth song "Tsar". These solos demonstrate, in particular, that Master have significantly developed their technique for "Talk of the Devil", their thrash metal has become more "true", in other words, more Western, not Soviet-style.

Outstanding features of this recording are a harsh guitar sound, which makes the album more angry, and dry riffs, which almost nullifies any emotionality and makes the atmosphere gloomy. Definitely, the previous album "With a Noose around the Neck" sounded more cheerful, there was something unnatural for thrash metal in it. What else should be noted concerning the sound, is that the mixing dragged the bass almost to the same level as guitars, which is not surprising, because bass player Alik Granovsky, one of the founders of the band, was perfect in his instrument playing. The album contains traditional for Master track with a bass solo – the eighth "Romance". This time it's an exquisite melody in the spirit of Baroque music.

Vocalist Mikhail Seryshev acts without philosophizing here, he completely duplicates his artistic devices from the previous albums. But then the lyrics were in Russian, and now in English. Most likely, the lack of experience with English texts affected, because Seryshev is a good vocalist by himself, but his parts are not smooth here, almost everything sounds somehow clumsy. Best of all, he sings in the seventh song "Heroes", by the way, the most tuneful song on the album. As befits thrashers of those times, Master actively use choral cries, most of which appear in the fifth song "Live to Die", also in "Heroes".

Master have heavy metal roots (the band was formed by musicians who left Aria), and this point affects the music sometimes: the chorus in the third song "Danger" is performed in some kind of heavy metal manner. In this song, heavy metal even penetrated into the solo. And, of course, the tenth song – it's a thrash metal version of "Paranoid" by Black Sabbath. This song on one riff is brightened up by two pretty clever solos. But to explain near-punkish notes in "Tsar" by reference to the origin of the band, will fail. Well, the "Tsar" lyrics are some kind of anarchist, so punk in this composition is very appropriate.

A couple of notes about other songs. The title song, the second one, oddly enough, is notable for the only short tremolo riff, very melodic at the very least. The most melodic song is, as already mentioned, "Heroes" – however, the main riff lacks piercing. But its solo is the most sophisticated and beautiful – right, this is not Slayer at all. The fourth composition "Fallen Angel", the most interesting in structure, begins with a recording (not a sample) of the church choir and contains a very melodic riff. The fifth "Live to Die" is notable for its unexpected drum fill almost on the edge of grindcore.

The ninth song "I Hate Your Sex" stands apart from the rest of the songs. Perhaps, musically, it is sustained in the spirit of the album, but the stupid lyrics negate all its advantages. The wretchedness of this song is increased by the fact that the music for it was partially copied by Master from their own song, "God Save Our Fury" from "With a Noose around the Neck". Self-plagiarism is a strange incident, it is not such a terrible "crime", as ordinary plagiarism. Most listeners do not even pay attention to this. But there is only two years difference between albums – two, not twenty! And in this case, it's really disappointing that the music from the excellent song "God Save Our Fury", overstretched by malicious social criticism on the verge of misanthropy, migrated into some kind of absurdity – the "revelation" of a former whoremonger who suddenly got his mind right. What a disgrace.

This is an album that can be compared to Coma of Souls or Beneath the Remains. The production isn't *quite* as brutal, but sometimes it is close, and the riff intensity and variety is definitely on level with those two releases. The only thing that's a bit problematic is that the album is just a bit short, and it has one kinda average Black Sabbath cover ("Paranoid").

Other than that, this rules from beginning to end. "Talk of the Devil" starts with a little intro, and then this massive riff comes out of nowhere, cleaving your skull in and forcing you to make peace with whatever deity it is that you worship because, son, I hate to break this to you, but the riffs have decided that it is TIME FOR YOU TO DIE!!!!

The song speeds up quite a bit, and then after a few verses, this intro riff comes back to haunt you AGAIN in the middle (you cannot get away, so fuck off and die!). Man, what an awesome fucking song.

Oh yeah it doesn't quite get that good ever again, but the rest of the album still thrashes in its own little way. "Danger" more thrash. "Fallen Angel" - oh look here is a happy little intro, perhaps the rest of this song is also cute and fluffy? WHY NO, YOU ARE SADLY MISTAKEN!!! The riffs are back and they are mighty displeased!

"Live to Die" LIVE TO RIFF!!! "Tsar" - it's a well-known fact that in 1881, Alexander II was blown up by an assassin armed with SEVENTEEN RIFFS PER MINUTE. "Heroes" - okay I'm out of really stupid things to say, and "I Hate Your Sex", I mean the lyrics are pretty damn bad (not quite "Go Home to Grave" but close), but my goodness, this album wants you DEAD!!!

I strongly suggest that you cooperate.