Review by Felix on October 16, 2019.

Up to now, Tankard's album no. 13 is the last one I have bought. The song fragments of the later outputs never gave me the impulse to add another work of the mostly good-humored guys to my collection. I really regret this, but there seem to be so many fantastic albums out there that there is no time to get sentimental. However, Thirst is an ambivalent long player that has to struggle in order to avoid drifting into meaninglessness. Honestly, these ten tracks do not whet the appetite for more work results of my neighbors, although Tankard did not forget to pen a small number of definitely strong pieces. Be that as it may, the question here is: what has gone wrong?

The lyrics do not play an important role in this respect. No doubt, stupid song titles like "Myevilfart" or "Sexy Feet Under" indicate blatantly that the typical Tankard joke has been told too often. Yet the band has also written some rather unusual lyrics and it is surely common sense that a good composition does not go into the ditch only because of a moronic naming. The problem is more complex. In former times, Gerre and the other beer killers were constantly bursting with energy. But their juvenile boisterousness decreased steadily over the years. God knows that they are not alone in this! Anyway, experience replaces energy and the result is another album that fails to take possession of the somewhat perplexed thrasher who sits in front of his speakers.

In rare moments it seems as if the band has not forgotten any of its once impulsive art. The explosive chorus of "G.A.L.O.W" has the power to drive a concert audience wild and the high speed verses do not lack of intensity, too. "Hyperthermia" points in the same direction while sending greetings to Finland in view of its original lyrics. But the best is yet to come. The quasi title track - look out for its hilarious video on YouTube - offers the entire range of Tankard's thrash metal approach and it does not need to be afraid of any comparison with the classics of the band. Both the melodic, almost melancholic sequences and the stormy verses release strong emotions and force the listener to do his personal expressive dance. Not to mention the chorus which connects fatalism with optimism. I know that this liaison sounds strange, but the whole song, each and every part, is simply excellent. Additionally, the lyrics combine the well-known alcohol topic with an extraordinary story about Twisted Sister (!) and the result is 100% Tankard at its best.

Unfortunately, the Hessian squadron mainly performs pretty average tracks. The opener or "Zodiac Man" fail to develop an own identity, while the integration of a children's choirs in "When Daddy Comes to Play" and the closer do not belong to the best compositional idea in the history of the band. Okay, "Zodiac Man" has a fantastic instrumental part after the chorus and the solos are fine as well. But under the bottom line, these songs do not reflect Tankard's once enormous capability in terms of song-writing. And the crummy "Myevilfart" bears its name with pride. That's definitely a pity, because the clear, aggressive sound points out that the recording budget has been well invested. In terms of professionalism, the dudes do not need any form of instruction. It is also laudable that they still or - if the truth be told - again play pure thrash. Nevertheless, the last drop of insanity is missing. Don't know what the future will bring, but at the moment, my thirst is quenched.

Rating: 6.8 out of 10

Review by Felix on October 16, 2019.

Up to now, Tankard's album no. 13 is the last one I have bought. The song fragments of the later outputs never gave me the impulse to add another work of the mostly good-humored guys to my collection. I really regret this, but there seem to be so many fantastic albums out there that there is no time to get sentimental. However, Thirst is an ambivalent long player that has to struggle in order to avoid drifting into meaninglessness. Honestly, these ten tracks do not whet the appetite for more work results of my neighbors, although Tankard did not forget to pen a small number of definitely strong pieces. Be that as it may, the question here is: what has gone wrong?

The lyrics do not play an important role in this respect. No doubt, stupid song titles like "Myevilfart" or "Sexy Feet Under" indicate blatantly that the typical Tankard joke has been told too often. Yet the band has also written some rather unusual lyrics and it is surely common sense that a good composition does not go into the ditch only because of a moronic naming. The problem is more complex. In former times, Gerre and the other beer killers were constantly bursting with energy. But their juvenile boisterousness decreased steadily over the years. God knows that they are not alone in this! Anyway, experience replaces energy and the result is another album that fails to take possession of the somewhat perplexed thrasher who sits in front of his speakers.

In rare moments it seems as if the band has not forgotten any of its once impulsive art. The explosive chorus of "G.A.L.O.W" has the power to drive a concert audience wild and the high speed verses do not lack of intensity, too. "Hyperthermia" points in the same direction while sending greetings to Finland in view of its original lyrics. But the best is yet to come. The quasi title track - look out for its hilarious video on YouTube - offers the entire range of Tankard's thrash metal approach and it does not need to be afraid of any comparison with the classics of the band. Both the melodic, almost melancholic sequences and the stormy verses release strong emotions and force the listener to do his personal expressive dance. Not to mention the chorus which connects fatalism with optimism. I know that this liaison sounds strange, but the whole song, each and every part, is simply excellent. Additionally, the lyrics combine the well-known alcohol topic with an extraordinary story about Twisted Sister (!) and the result is 100% Tankard at its best.

Unfortunately, the Hessian squadron mainly performs pretty average tracks. The opener or "Zodiac Man" fail to develop an own identity, while the integration of a children's choirs in "When Daddy Comes to Play" and the closer do not belong to the best compositional idea in the history of the band. Okay, "Zodiac Man" has a fantastic instrumental part after the chorus and the solos are fine as well. But under the bottom line, these songs do not reflect Tankard's once enormous capability in terms of song-writing. And the crummy "Myevilfart" bears its name with pride. That's definitely a pity, because the clear, aggressive sound points out that the recording budget has been well invested. In terms of professionalism, the dudes do not need any form of instruction. It is also laudable that they still or - if the truth be told - again play pure thrash. Nevertheless, the last drop of insanity is missing. Don't know what the future will bring, but at the moment, my thirst is quenched.

Rating: 6.8 out of 10

Review by Carl on April 28, 2024.

I was surprised to see that this one had no reviews, to be honest. It is after all a pretty important release in the evolution between thrash and death metal, as well as introducing the world to the embryonal versions of Atheist in the form of R.A.V.A.G.E. and Obituary in the guise of Xecutioner.

And speaking of Xecutioner, they are the first band we get to hear. As one would expect, you can already hear the band Obituary bubbling underneath the music on offer here. Especially John Tardy's vocals already have that vomitous edge we all know and love to them, be it a tad less guttural, but you can hear it is him. And speaking of things that sound familiar, the early Slayer meets Celtic Frost riffing is another thing that would resurface in the sound of Obituary, together with the thudding percussion and frenzied lead guitar work. Alternating speed with slowly crushing heaviness, "Find the Arise" is my favorite here, but the more primal approach of "Like the Dead" goes in almost as good!

Next on the slab is Canada's Lethal Presence, a name I'm familiar with because of the involvement of Bobby Sadzak of Slaughter/Strappado fame. They deal in a more thrash metal sound with some hardcore inluence added. The metallic riffing is straight from the Dark Angel/Slayer school of playing, with the gruff vocals holding the middle between early Dark Angel vocalist Don Doty and hardcore vocalists such as Ron Martinez (Final Conflict) or Sothira (Crucifix). The track "Strangled Death" is a varied song, alternating thrashing velocity with more (somewhat melodic) midtempo parts, which does not capture my interest to the fullest, but the other offering "Unholy Alliance" does, unleashing their inner Dark Angel to the fullest. Primarily fast and furious, with shredding lead guitar thrown in and a vicious vocal delivery, this one scratches that fierce thrash metal itch all the more.

Next up: Betrayel, a name I know nothing about, and listening to what they deliver here, rightfully so. Coming across as a half-baked German speed metal band, this isn't all that, I'm afraid. Listening to their cut "D.D.P.", this doesn't do much for me. The vocals have me thinking of a constipated Zetro from Exodus having a bad cold. The music itself sounds pretty 'meh' as well, imagine early Kreator left out in the sun for too long. It's uptempo, yet not stupid fast, resulting in a track just plodding along. Things improve somewhat on "Another Sacrifice", which has the same ingredients to work with, but has a honking dose of hardcore punk energy injected, which does become them a little bit. Both tracks have great lead guitar work, but apart from that, Betrayel fail to ring my bell here.

R.A.V.A.G.E. then, and they dish out some punishment alright! The potent thrash/death metal sounds fucking heavy, and the growling vocals add a truly menacing touch to proceedings here. You can feel the aggression writhing underneath, waiting to explode. Both tracks make good use of crushing midtempo parts with excellent riffing, alternating with faster outbursts and great solo's throughout. The raw sound leaves the percussion to be somewhat pushed back by the guitars, but at the same time establishes a feeling of barely concealed savagery in the music. The indestructable "On They Slay" would be re-recorded for Atheist's "Piece of Time", sounding slicker, more uptempo and precise, and rightfully so, because this track is a beast of a headbanger through and through!

To close it out, Sadus come to show us why they are one of the greatest (and in my opinion underrated!) US thrash/death metal bands in history. Here we have an act that at the time made Slayer sound like The Carpenters, and speeding through their fast thrashing assault on the senses, they do not hesitate to drive that point home. The searing riffs fly forth propelled by a percussive performance executed by an octopus on meth, so it seems. On top of that we get the screeching vocals of Darren Travis, completing this picture of high speed thrashing frenzy. Because of the demo quality of the production, it's a bit of a shame that the bass work by the legendary Steve Digiorgio gets snowed under somewhat by the demented metal mania on offer, something that got corrected on their albums.

For as far as I know, all of the tracks all come from demo's, and because of that the production and mixing on all of the cuts are pretty rough around the edges, although there are no exceptionally bad recordings to be found here. It all has a very underground feel to it, and this album is a pretty important document of how early US death metal came to be.

To all you thrash and old school death metal afficionado's out there, check this out for a solid blast of true 80's underground nostalgia.

Rating: 8.5 out of 10