GD’s Top 20 Debut Albums

GD’s Top 20 Debut Albums

09/03/12  ||  Global Domination

Introduction by InquisitorGeneralis: What have
you been doing in the long span of time since our last list of complete
fucking domination? Fingering your glory hole to midget squirt porn?
Listening to Thai technical power grind? Watching reruns of Little House
on the Prairie? Look, we here at Global D realize that there has been a
gaping hole in your life (and vagina) these past few months so we
figured we would get back in the list hustle with a double sized phallus
of awesomeness; the Top 20 Debut albums in metal history. These are the
best first impressions; the records that said “We are here, here to
blow your brains out the back of your skull with our awesomeness”.

Remember the first time your little, flaccid meatstick made it’s
debut into little Suzie Rottencrotch? You lasted about .6 seconds
before passing out in a pool of your of your own tears and genetic
material. These records ain’t
that. These records bend little
Suzie over on her kitchen sink and pound her into the 23rd fucken
century all while making themselves a chicken salad sandwich and doing
their taxes. Many of these bands never did anything better, many went on
to long and successful careers, a few went down the toilet. Either way,
these debuts album are all amazing and our list covers a wide variety
of genres of styles. No need to thank us, your mothers already did.

Necrophagist: Onset of Putrefaction 20. Necrophagist: Onset of Putrefaction

Released: 1999

Necrophagist have only made two albums, are fronted by a certified
douche, and have kept us waiting for new material longer than it took
Ryan Samuel to realize that black metal is his key to joining Satanic
butt raids. With all of that shit stacked against them, Necrophagist still
command respect. “To breath in casket”, “Fermented offal discharge”,
and “Extreme unction” set the standard for brutal tech death mixed with
strong hints of melodic guitar work. This record made the list and
features fucking programmed drums. I hate programmed drums. And
still I can’t deny how awesome “Onset of Putrefaction” is. What do a
drum machine, a douche, and an assload of riffs, blasts, and time
changes equal…?

A landmark debut album that permanently up’d the technical death metal game, that’s what.


Cynic:Focus 19. Cynic: Focus

Released: 1993

It’s amazing that of all the albums on this top 20, I managed to
round up 3 different Florida-based bands. Victory goes to Detox! This
is, unfortunately, another one of those bands whose incredible abilities
both began and ended with their debut album, as all the material
afterwards is half-hearted at best. But let’s ignore that for now and
focus on “Focus“. One has the easiest time starting a
discussion of Cynic by talking about the experimental nature of the
album where the band was one of the very first (if not the first) to
properly mix together elements of progressive metal, death metal and
even a few nods towards industrial/electronic metal. It was way ahead of
its time and around its original release it never got the proper sort
of recognition it deserved, which is an incredible shame. From the
robotic clean vocals to the raspy death growls, through the technical
distortion-driven guitar playing to the beautiful clean, acoustic
sections, this album has enough atmospherics to [insert semi-funny
statement about your mind melting at the hands of this album’s
atmospherics here]. The vocals are really what made me love this album,
but one would be hard pressed (unless you’re just an unpleasable asshole
who no one will ever love. You’re going to die alone and whiney!) to
really find anything bad about this album. It heavily stands up to the
test of time and although the band has gone soft on their last few
recordings, one can always look back to this (and the demos that precede
it) and smile, remembering the good old days. You and your shitty
garage band could never touch anything even close to a song like “The
eagle nature”. Never forget that!


Terrorizer: World downfall 18. Terrorizer: World downfall

Released: 1989

Well looky here, we snuck a little grindcore onto the list! Or
should I say death/grind? Probably. And since we only included debut
albums that actually have follow-ups as well, we can be glad
Terrorizer shat out some more bland material after 20 years or so – I
guess they just wanted to have a legit entry here. And “World downfall”
surely deserves a spot on the roster. Its achievement? Fusing grinding
rage with talent for pretty much the first time. An abundance of blast
beats, sick grooves (“Fear of napalm”?) and tight musicianship meet
skilled death metal songwriting. This package is lyrically accompanied
by socially conscious, leftist leanings and a fitting simplicity in
riffing, both of which provide the album a solid grounding in
straight-up hardcore punk. The slick production obviously caters to
death metal tastes, however personally, I also massively enjoy the demo
recordings of this material that give this a lot more of the crusty edge
hinted at already. So, if you want this material with a bit more bile,
track down the “From the tomb” compilation. It’s main impact however,
and probably why it’s here in the first place, lies in the material’s
transitional value. That, on the other hand, is best observed with the
studio album, so first of all you should definitely make sure you have
this in your collection. An absolute genre milestone.


Candlemass: Epicus doomicus metallicus 17. Candlemass: Epicus doomicus metallicus

Released: 1986

In the mid-80’s, when glam and guitars was king, there was a huge
void in the world of heavy metal. And now we’re talking fucken HEAVY
metal. The throne of despair, held for so long by the almighty Black
Sabbath, was left vacated and a new heir was needed. Enter Leif Edling
& co. The tempo was dragged back to ominous slowness. The riffs
seeped of illwill and malice. The drums pounded like the footsteps of
doom. Doom metal, or epic doom metal if you will, was born.

This album created, or at the very least monumentally changed the
course of a huge subgenre in metal, and stands head and shoulders above
anything either Candlemass or any other doom outfit have released since.
From legendary opener “Solitude”, through classics like “Demons Gate”
and “Crystal Ball”, to closer “A Sorcerer’s Pledge” with the
crowd-pleasing sing-along outro, “EDM” is a milestone in metal history.

It is also the only album, not only with Candlemass but with any
band, on which we can hear the fantastic vocals of Johan Längquist. His
charisma, power and range are unrivaled in the history of the band – and
let me remind you that the mic of the C has been held by certified
heavyweights such as Messiah Marcolin, Robert Lowe, Thomas Vikström and
Mats Levén. No one, and I mean NO ONE, can do “Solitude” justice, other than Mr. Längquist.

Earth to earth

Ashes to ashes

Dust to dust.


Black Sabbath: Black sabbath 16. Black Sabbath: Black sabbath

Released: 1970

Black Sabbath. This is one of those albums that simply cannot be
ignored when you’re talking about heavy metal debuts. In fact, this
album might well be the debut of heavy metal as we know it. From the
iconic title song which would go on to birth an entire sub genre in doom
metal to “The Wizard” and “N.I.B.” which wrote the blueprint for much
of the genre. Iommi, Butler, Ward and Osbourne were still perfecting
their sound and their attack and the scary bit is that the four would go
on to make far greater music but in terms of sheer impact on a genre,
nothing comes close to “Black Sabbath.”


Ulver: Bergtatt 15. Ulver: Bergtatt – Et eeventyr i 5 capitler

Released: 1995

Ulver’s “Bergtatt – et eeventyr i 5 capitler” (“Taken into the
mountain – a fairy tale in 5 chapters”) is not a perfect debut; it’s a
bit shorter than its epic concept calls for, some of the quiet/loud
transitions are abrupt, and some of the heavier moments aren’t that
interesting. Yes, I have cooled on it a little bit since my review 3
years ago… still, I do definitely like it, as passion, creativity, and
sheer emotional feeling should outweigh any anal need for perfection.
It’s a neat blend of soft, folky acoustic touches, blasting, buzzing
black metal, and in-between sections that are metal, but a
highly melodic kind (but not like Dark Tranquillity or anything), as
well as a few parts that even blur the lines between those styles.

The lyrics are neat too, telling the story of a girl who becomes
lost in some snowy mountain-forest, and kidnapped by trolls or some
shit; they’re all written in archaic Danish & Norwegian, but the
passion inherent in frontman Garm’s vocals, whether he’s doing a
velvet-soft, smooth, ethereal clean style, monk-like chanting, or black
metal scream-growling, still help to get the point across very well.
Additionally, nice experimental touches like sudden lightning sound
effects, tromping-thru-the-snow samples, and distant, direction-less (in
a good way) piano playing also help to paint us a visual scene of the
girl’s plight, lost, scared, and lonely in the dark mountains, vividly
communicating emotions to us even if we don’t speak the language. The
relatively un-polished, naturalistic production (but nowhere near
Darkthrone-rawness) only adds to the down-home, Norwegian-y charm,
helping to cement the status of “Bergtatt” as a uniquely fascinating,
diamond-in-the-rough debut. Very interesting, lovely stuff here.

…oh yeah, but I still think I’ll dislike “Nattens madrigal” for all eternity; sorry!!!


Helloween: Walls of Jericho 14. Helloween: Walls of Jericho

Released: 1985

“Walls of Jericho” was one of the first CDs I owned and it still
occupies a very sentimental corner of my CD cabinet. Speed metal used to
be a confusing genre tag. Its sort of thrashy and really fast but its
more like Maiden than Metallica. This is the quintessential speed metal
album. The songs just tear through you and Kai Hansen and Michael
Weikath were on fire right through this album. The duo’s love for Judas
Priest and Iron Maiden may have been obvious but they were also
phenomenal song writers in their own right and the result is an album
that still kicks ass and is everything you’d expect from heavy fucking
metal. “Ride the Sky” and its definitive speed metal riffing, “Reptile”
with its quasi thrash approach, the melody of “Guardians,” the fist
pumping sing a long chorus in “Phantoms of Death,” the mandatory ode to
heavy metal in “Metal Invaders” and just the right mix of cheese and
badassery in “Gorgar.” “Walls of Jericho” has every element that makes
power metal what it is today. Simply a fantastic metal album from start
to finish. Even as the power and quality of these songs were diluted
over the years by the band themselves and by literally hundreds of
imitators, “Walls of Jericho” inspired generations of metal heads,
kick-started the power metal genre and is still just as relevant today
as it was when it came out.


Nocturnus: The key 13. Nocturnus: The key

Released: 1990

While I spoke higher in this list of Morbid Angel’s guitar ferocity
and my feelings towards that end, they are nothing… I repeat, NOTHING
compared to how much enjoyment I get out of the guitar work all over
Nocturnus’s debut “The key”. You wouldn’t really have that hard of a
time convincing me that these riffs were recorded by beings not of this
world (although, technically, the early Florida death metal scene really
was in a world all its own). The solos are beyond insane, and although
incredibly technical all around I never find myself feeling bored or
annoyed, nor do I find any of it to be considered wankerish. The
drumming is solid, but pretty straightforward and the vocals are pretty
bland and I must say that one of the elements of this album that hasn’t
stood the test of time well is definitely the production. If anything
could use a great remastering, it’s this album. My love for this album
really comes down to the keyboards, though. The melding together of the
guitar and keyboard/synth work on this album is astonishing and has
never had much real competition, as far as I’m concerned. This record
has zero unenjoyable tracks and it’s truly unfortunate that the band’s
amazing antics started and ended with this album, as “Thresholds” sucks.
That’s right, I said it… someone had to. Yeesh. Enter the motherfucking


Testament: The legacy 12. Testament: The legacy

Released: 1987

Who could have predicted that the Bay Area’s finest, and most
underrated band would still be going as strong today as when they
debuted over twenty five years ago with “The Legacy”? Testament brought
something new to the thrash game when they up’d the melodies and
virtuoso guitar playing while maintaining the speed and aggression of
the movement’s late 70’s, early 80’s origins. Testament were accessible
but still intense and helped open thrash up to a whole new audience who
worshiped the guitar golds of old but had not quite accepted the harsher
aspects of thrash metal. How can you go wrong with a debut album that
hits you with “Over the wall”, “The haunting”, “Burnt offerings”, and
“Raging waters” back to back to back to back. That is prime grade shit
right there, buster.

Oh, the back end (you know you like the back end) is thick and meaty
to with the always amazing “First strike is deadly” and “Apocalyptic
city” pluming things up. Testament are a great, long-lasting band and
their debut still holds up today as a landmark thrash record whose songs
still bring the house down when played live. I saw Testament play this
bay boy all the way through a few years ago, and it was fucking sweet.
End of story.


Mayhem: De mysteriis dom Sathanas 11. Mayhem: De mysteriis dom Sathanas

Released: 1994

Ah, yes. The album that (the media believe) burned a thousand
churches. I know that technically, “De mysteriis dom Sathanas” was not
the first time the world was introduced to the mighty Mayhem. That honor
probably goes to either “Deathcrush” or “Live in Leipzig.” However,
“Mysteriis” was definitely the band’s first full-length, and it still
stands as one of the albums that helped define the black metal genre and
one of the all-time greats. Everyone knows the story behind Mayhem.
Varg blah blah blah killed Euronymous blah blah, but this was the
album that featured the two playing side by side. The album itself is
bubbling over with black metal classics like “Freezing Moon,” “Funeral
Fog,” “Pagan Fears,” and the title track, and the songwriting you find
on the album is a clinic in black metal. Euronymous defined the sound of
the genre on this album with the abundant minor chords and tremolo
picking, and the atmosphere is as creepy as the blue church on the black
cover. This is undoubtedly an album that every metal fan should have in
his or her collection.


Entombed: Left hand path 10. Entombed: Left hand path

Released: 1990

You know the Sunlight sound? The one that was a huge part of the
Swedeath scene in the early ‘90s? Buzzing chainsaw guitars, pounding and
piercing drums, and an overall gritty in-your-face soundscape. Yes, that
sound. This album is the one that made it famous. When “Left Hand Path”
was released, all the bands in the scene wanted to sound like Nicke
Andersson & co. The record is a perfect example of a symbiosis
between music and production. The riffs are buzzing and chainsaw-like.
The drum beats and hits are pounding and piercing (and groovy as fuck!)
The songs are, overall, gritty and in-your-face; and let’s not forget
L-G Petrov’s maniacal growls and screams. A death metal classic was
born, and since it was arguably the first official full-length release
to come out of the cooking and boiling death metal demo scene in Sweden,
“Left Hand Path”’s place in the history books was firmly secured. The
quality of the riffs and arrangements is undeniable, with classics such
as “Revel in Flesh”, “Supposed to Rot” and the title track providing the
album’s highlights. The fact that the guys who wrote and performed this
were only just entering adulthood is stunning, but it also explains
where the raw adrenaline and ferocity that drives the album’s energy
onward comes from. The early Swedeath scene produced many gems, but this
has to be the crown jewel.


Celtic Frost: To mega therion 9. Celtic Frost: To mega therion

Released: 1985

A lot of bands that try blending a bunch of different genres/sounds
together either end up being slaves to their predecessors, fail to
create something truly fresh, or sound hesitant and unsure of their own
vision, either lacking the proper creative intelligence or the
willingness to fully commit. Most of them that is, ‘cept for
Switzerland’s Celtic Frost; while frontman Tom “Million Names” Warrior
already had some experience in recording metal from a few demos/EPs with
Frost & Hellhammer, contrary to popular belief, “Morbid tales” was
originally an EP… then the record label slapped on a few songs for the
American release, and acted like that made it a true full-length. Uh-uh;
“To mega therion” was Frost’s real first full-length, and what a debut it was, a highly aggressive, ambitious, and (perhaps most importantly) coherent
slab of extreme metal, taking inspiration from the already-existent
thrash movement, and the then nascent black/death/doom movements,
culminating in a record that helped influence not one, not two, but three distinctive genres.

You see, in the 80’s, before it had become an umbrella term to just
let your newb friends know that you like heavier stuff than The black
album, “extreme metal” actually meant something, seeing as how the
heavier shit was more sparse, and there wasn’t a bad Suffocation rip-off
in every single town. A good extreme metal record really stood out
then, which helps explain why “therion” is such a legend, since it
pretty much came out at the perfect time, at the chronological
crossroads between the more “traditional” metal of the past, and the
extremer styles that have gotten so big since. Hell, even if it had come
out in 2012 instead of ’85, it would still kick our asses with its
highly intelligent and “alive” songwriting, and breakneck transitions
from thrashing fury to foreboding, apocalyptic doom, all delivered by
Tom’s wonderful snarling, dirty guitar sound & chaotic, ADD
solos, and with a lil’ bit of niche appeal in Warrior’s
oh-so-idiosyncratic grunts and shouts, in addition to the generally
harsh-ish vocals which helped inspire the growlers of today.

Besides sheer ass-kicking entertainment value and genre influence,
“therion” also still sounds a bit off the beaten path even today, with
avant-guarde touches like traditional orchestra instruments, operatic,
high-pitched female vocals that appear without warning, a weird, creepy,
ambient interlude track (though it doesn’t top “Danse macabre”), and so
on, further adding to the album’s high level of uniqueness. So yeah, if
you’re big on classic albums that have hardly aged at all, it’s hard to
beat “To mega therion”. Sure, Warrior’s a pretty whiny and pretentious
guy, and for the most part, Frost’s career after this (mostly) failed to
live up to this legacy, but it’s still just so awesome on its own, I
really can’t give much of a fuck about anything else. Truth, baby.


Dissection: The somberlain 8. Dissection: The somberlain

Released: 1993

Most of the songs on this record were written when mastermind Jon
Nødtveidt was between 14 and 17 years old. What were you doing when you
were 14? That’s right, eating your own snot in 8th grade and playing
Pokémon. Not making high-quality death/black metal with amazing hooks
and a Satanic atmosphere, that’s for sure. Luckily, Jon did. “The
Somberlain” is a fantastic debut and is still, a couple of decades
later, one of the finest albums to be released in the genre. Malignant
vocals, fiery riffing, harsh drumming, bleak melodies – no signs of
adolescence here, it’s pure balls. Intricate arrangements with guitar
harmonies and complex song structures make this album as progressive as
the instant hooks make it catchy on the first listen. Since Dissection
only made three albums, and all are pure quality throughout, as much as
they are different from each other, every single one of them is a
must-buy. So, what are you waiting for?! Either spin it buy it!


Deicide: Deicide 7. Deicide: Deicide

Released: 1990

I first heard Deicide’s self-titled debut in 1993. Coming along
after my initiation through Guns n’ Roses, Iron Maiden and thrash metal,
“Deicide” was unlike anything I’d heard at that point. It really was a
pivotal moment in my life. When Benton shrieked out “dead by dawn, dead
by dawn, dead by dawn… DEAD…. BY…. DAWN” it
was just about the most evil thing I’d ever heard. This music actually
had the power to possess and make a bunch of Hindu kids behave in highly
idiotic fashion, writing lyrics about Satan, wearing bits of animal
bone as necklaces, cutting an inverted cross onto your skin…. Looking
back, man, we were stupid but when I was 14 years old, heavy metal and
Deicide were the most important things in my life. Sure, the whole thing
got diluted in years to come and we found out Benton was a bit of a
talker. His promise to kill himself at 33 turned out to be a bunch of
bull and just a silly statement but back then it just made us go: “Wow.
This guy is mad.” Anyway, leave all of the theatrics around this album
to one side and you’re still left with 10 fantastic songs and an album
that more than 20 years after its release is still one of the most
important death metal albums ever released. It’s still inspiring
generations of metal heads and I still get goosebumps when “Dead by
Dawn” comes on. This is Deicide’s debut and still their finest moment.


Guns N' Roses: Appetite for destruction 6. Guns N’ Roses: Appetite for destruction

Released: 1987

This album isn’t brutal or kvlt or any other metal elitist
adjective. It’s just a good fucken record. It’s undoubtedly one of the
single best albums ever recorded by any artist from any genre, and I
cannot even begin to describe its importance on me personally as a
musician and metal connoisseur, or even on myself as an individual in
any sort of rational manner. When I was a wee lad, I actually stole this
cassette from a friend of mine just because I thought the cover was
cool as hell. Show me a 12-year old boy who says he doesn’t like skulls
wearing sunglasses, and I’ll show you a liar. Besides, my friend was
starting to get into pop country anyway, so he clearly didn’t deserve
this piece of musical badassery. When I clunked the thing in my Sony
Walkman and pressed play, I vowed I would never look back. I didn’t and
still haven’t. Slash’s guitar and Axl’s voice had me possessed. I
started reading metal magazines, finding other bands and ordering their
albums, stealing more of my friend’s tapes, and I even started to learn
to play guitar myself just to emulate Slash. I still love songs like
“Mr. Brownstone,” “Out ta get me,” “Nightrain,” and “I think about you”
as much today as I did the first time I heard them. I don’t know where I
would be without this album in my life. Honestly, I’d rather not even
think about it. I love you, “Appetite for Destruction.” You had me at
“Oh my god.”


Iron Maiden: Iron maiden 5. Iron Maiden: Iron maiden

Released: 1980

This is going to be utterly terrifying, but imagine an alternate
reality in which this album and this band never existed. No galloping
basslines. No harmonized leads. No “woooooah-oooooh” sing-along parts.
Sheer horror. Granted, I was -1 years old when this album came out, but I
still fully understand the profound impact it had on the global metal
scene then, and still has on it today. When you think about it, only two
members of today’s Maiden lineup even contributed to this album, but
they are both legends. Steve Harris became the standard by which all
other heavy metal bassists are judged, and there’s not a metal fan worth
his weight in mini-humbuckers who doesn’t know who Dave Murray is. This
was the album where it all began. You can argue that Bruce Dickinson
slays Paul Di’Anno, and you’d be right, but Paul brought an attitude to
Maiden on their first two albums that has not been seen since. Also, the
upgrade from Dennis Stratton here to Adrian Smith later was infinitely
beneficial, but listening to this, their self-titled debut, is a
refreshing listen these days, knowing what we know now. Is this the best
album Iron Maiden ever recorded? Hell no. That’s another argument for
another time. But this album is one hell of a debut. It’s an absolutely
integral part of metal history and should not be overlooked.


Emperor: In the nightside eclipse 4. Emperor: In the nightside eclipse

Released: 1994

Released into the unsuspecting, young world of thrashy and primitive
black metal in the same year as “De mysteriis dom Sathanas”, “In the
Nightside Eclipse” eclipsed (sorry) most of what was going on in the
scene and made a bold statement of Emperor’s own. Ihsahn & co’s
vision was to make something more sophisticated, yet still as malevolent
as their genre brethren. With the addition of eerie keyboard landscapes
to the more traditional black metal aspects such as blastbeats,
screeching vocals and minor tremolo picking, “ITNE” was truly
groundbreaking stuff, and laid a firm foundation for
atmospheric/symphonic black metal. The fact that this sub-sub-genre has
been largely diluted and misused since is not the pioneers’ fault, and
certainly does not diminish the value of this great record at all.
Especially considering The Big E’s fantastic sophomore “Anthems…”, that
really hit the jackpot. With classics such as “I Am the Black Wizards”,
“Cosmic Keys to My Creations and Times” and epic closer “Inno a Satana”,
this is a landmark in the history of black metal.


Machine Head: Burn my eyes 3. Machine Head: Burn my eyes

Released: 1994

There are very few albums that are pure distillations of rage that I would give the vaunted 10
to; not even “Reign in blood”, though I do love it. While I do love
hearing me some brawn in metal as much as the next guy, I also love to
hear some brains almost as much. Guess that explains why I’m
not much for grindcore. However, there exists one album to date that is
the exception to my rule, which is Machine Head’s “Burn my eyes”. Taking
some musical influence from the groove metal stylings of Pantera (but
turned up to 11), and social influence from fucked-up real events like
the Rodney King riots and the Waco siege (what did you think “Davidian”
was about?), Machine Headgiver makes the album succeed mainly through
the sheer bulldozer force of those thick, groovy riffs, Chris Kontos’s
primal, pounding drums, and Robb Flynn’s righteously-outraged
lyrics/shouting, attacking a government and society that has become fat
with apathy, conflict, and corruption.

However, besides the socially-conscious lyrics, there are some other
moments here that impress me with the thought put into them; stuff like
how well the killer drum intro on “The rage to overcome” works with
that drilling-into-your-ears, shriek-y guitar work, the eerily quiet,
patient, and atmospheric intro/build-up of “A nation on fire”, the
successful, relevant integration of ominously distorted news samples on
“Real eyes, realize, real lies”, with the riffing grooving away
underneath it as an anchor… all proving that Head had something going on
in their, well, heads when they recorded this. But again, the
main appeal here is the pure rage, and MH pulls that off about as well
as I’ve ever heard on any album. Their career since has been a bit up and down (and really down
at a few points), and while they have done a few very good records
since, “Burn” will almost surely be their crowning achievement for
eternity, as well as one of metal in general’s greatest records. How
many other debut albums can say the same thing? So far, fucken none of ‘em I say.


Metallica: Kill 'em all 2. Metallica: Kill ‘em all

Released: 1983

you. This is what put thrash metal on the map and with it, one of the
most successful metal bands ever. It is pointless to point out any
weaknesses or shortcomings, although I of course acknowledge that you
know somebody who has found them, analyzed them and turned them into a
tasty stew – it doesn’t matter. Pretty much every teenage
self-respecting metal band from my generation (and probably way, way
before) started out by playing covers of “Seek and Destroy”, or other
songs off this album – but preferably “Seek and destroy”
because the shitty drummers couldn’t go faster. This is a fact that
towers undisputedly above any kind of “but the songwriting…” argument.
It showcases exactly how important “Kill ‘em all” was and is. It opened
up a world where you could just get together with friends and dream of
becoming a bad-ass band with the simplest of means, plus – important – a
good dose of aggression. Turns out it wasn’t that simple after all, but
who cares if you had a blast trying? So thanks Metallica – thanks that I
automatically think of the “Jump in the fire” riff when “Motorbreath”
ends, thanks that I still know the “Whiplash” lyrics by heart, and all
in all: thanks for the inspiration. No thanks for becoming asswipes
later, but that’s another story.


Morbid Angel: Altars of madness 1. Morbid Angel: Altars of madness

Released: 1989

So the collective grouping of douchebags that is the Global
Domination staff has decided that top honors in the debut album
department goes to the frenzied Florida assault force known as Morbid
Angel and their devastatingly crushing debut “Altars of madness”. Big
surprise, am I right? But even with it being perceived as overrated by
many, this album was amazing when it dropped in the late 80’s and it
still holds up incredibly well today. The guitar work on this album?
Holy crippled Christ on a cross! There are few things more maniacal and
demonic sounding during this period that the guitar sounds that came out
of this recording. The solos? Not that complex? Really? Just try to
follow along with the insanity you flock of bedroom guitar ‘virtuosos’. I
expect to see some hilarious YouTube covers real fucking soon. The
vocals on the album are average and are the one thing that I just kind
of deal with when it comes to the album, but all of the musical elements
themselves more than make up for it. The drumming is nasty and tight
all at the same time and the bass playing ain’t too shabby either. It’s
not my favorite debut, but i’d be lying if I said it wasn’t damn close. I
also love the “ha ha ha ha“ part at the beginning of “Maze of Torment”. Bleed for the devil, you cowardly cunts!


P.S. – Fuck Smalley for writing 2 or 3 paragraph snippets and making the rest of us look bad. For shame!

P.P.S. – Yeah. For shame. Oh wait. -CadenZ

Outroduction by Habakuk: Now before you enter nerd rage mode because your FAVIROITE
album hasn’t been featured – despair not. This time around, we let our
staffers compile the shit they would have liked to see, but which didn’t
quite make the cut. If the debut of your dreams doesn’t show up in
those short lists either, well, then it probably just sucks. Here they







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This entry was posted on June 14, 2014 by in Lists of Domination.
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