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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Heathen - Breaking The Silence + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
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│║ ║ │
│║ Rls Date..2020-05-06 Encoder......LAME 3.100 ║ │
│║ Genre.....Thrash Metal Graber.......EAC ║ │
│║ Year......1987 Khz/Bitrate..44.1 / VBR kbps ║ │
│║ ║ │
│║ Ripper....Anthem Songs........9 ║ │
│║ Source....CD Covers.......Yes ║ │
│║ Url.. ║ │
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│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Heathen ║ │
│║ Album : Breaking The Silence ║ │
│║ Label : CBS/Sony records ║ │
│║ Cat.No : 25DP 5070 ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ Some might lament the idea that there tends to be a huge ║ │
│║ crowd of followers at the onset of a new development in ║ │
│║ metal, and circa the mid-80s thrash was at the top of the ║ │
│║ list for anyone looking for a more extreme alternative to ║ │
│║ the mixed bag that was the NWOBHM and comparable affiliates ║ │
│║ in America and Germany. Usually this objection will rest ║ │
│║ upon a lack of significant stylistic development brought ║ │
│║ about by 2nd and 3rd wavers. But is violently sudden ║ │
│║ mutations in sound really the only measure of a great band? ║ │
│║ Could it be just as possible that a measured variation on ║ │
│║ an existing paradigm can yield some bone crushing, heavy as ║ │
│║ an anvil greatness to rival the original pioneers? ║ │
│║ ║ │
│║ Probably the best equipped band to answer this question is ║ │
│║ Heathen, a band that is largely seen as a moderated middle ║ │
│║ ground between the fringe darkness of Slayer, Dark Angel ║ │
│║ and the emerging death metal scene, and the more ║ │
│║ conservative speed metal work of Anthrax, Overkill and ║ │
│║ Exciter at this juncture. While their debut ôBreaking The ║ │
│║ Silenceö doesnÆt look ahead to the coming beast of extreme ║ │
│║ evil of the former bands and their Teutonic counterparts, ║ │
│║ it resembles their earliest material in terms of speed and ║ │
│║ intensity, while having a more consonant and catchy melodic ║ │
│║ contour that is very conducive to the NWOBHM tendencies of ║ │
│║ the latter 3 bands. In essence, this is an album that ║ │
│║ provides the best of both worlds from both a 1983 and a ║ │
│║ 1987 thrash metal context. ║ │
│║ ║ │
│║ The biggest draw of this band is their unique ability to ║ │
│║ bridge the gap between the technical brilliance of fellow ║ │
│║ Bay Area mainstays such as Testament and Vio-Lence, while ║ │
│║ still maintaining the accessible simplicity of general song ║ │
│║ structure that makes Anthrax and Metallica easy to get ║ │
│║ into. The riff work is pretty fancy, though more of a ║ │
│║ cohesive mold in line with ôRide The Lightningö rather than ║ │
│║ an all out riff after riff barrage, while the lead guitar ║ │
│║ work is where the bandÆs technical prowess really comes ║ │
│║ through. ItÆs a bit more fancy and out of the blues box ║ │
│║ than the Tipton/Downing model, yet also organized and ║ │
│║ methodical enough not to slip into utter chaos as with the ║ │
│║ King/Hanneman approach. Rounding out the arrangement is a ║ │
│║ capable bassist who occasionally pipes in with a distorted ║ │
│║ fill in homage to Cliff Burton while otherwise keep the ║ │
│║ bottom end, a powerful battery out of a very capable ║ │
│║ drummer, and a mostly clear and occasionally gravely vocal ║ │
│║ display out of David White, who is among the more ║ │
│║ traditionally heavy metal oriented of thrashÆs vocal ║ │
│║ personalities in the mode of Metal ChurchÆs David White ║ │
│║ (who actually filled in for him in Heathen in the late ║ │
│║ 80s). ║ │
│║ ║ │
│║ The overall collection of songs found on ôBreaking The ║ │
│║ Silenceö is largely within the 1983-84 paradigm, though ║ │
│║ this sound was still common circa 1987 as a number of Bay ║ │
│║ Area bands were releasing debuts at this time containing ║ │
│║ material from much earlier. Right from the opening free for ║ │
│║ all that kicks off ôDeath By Hangingö, itÆs clear that the ║ │
│║ rapid paced riffing of ôKill EmÆ Allö is a major influence ║ │
│║ at work here, though the lead guitar attack is about twice ║ │
│║ as ambitious. ôPray For Deathö and ôSave The Skullö also ║ │
│║ cater to the formulaic and mostly fast tendencies of early ║ │
│║ pioneering thrash works, though with a guitar tone that is ║ │
│║ chunkier and more in line with the later 80s ║ │
│║ Metallica/Megadeth sound. Things get much more technical ║ │
│║ and more in line with later 80s practices on ôOpen The ║ │
│║ Gravesö where a frenzied splash of lead guitar brilliance ║ │
│║ and a slightly darker and grim atmosphere remind of later ║ │
│║ 80s releases by Overkill, and ôWorldÆs Endö ups the ante ║ │
│║ further with a brilliantly gloomy acoustic intro that ║ │
│║ sounds remarkably similar to a number of early USPM ballads ║ │
│║ before ramming down even more thrashing brilliance. ║ │
│║ ║ │
│║ Ironically, though HeathenÆs uncanny ability to put ║ │
│║ together top notch original work together is their strong ║ │
│║ point, one canÆt help but be taken in by their practice of ║ │
│║ modernizing older rock and metal songs. The cover of ║ │
│║ SweetÆs ôSet Me Freeö has a little bit of a Queen aesthetic ║ │
│║ to it, particularly in the spacey sound of the harmony ║ │
│║ vocal parts on the chorus, but the overall drive of the ║ │
│║ song is early 80s speed/thrash, incorporating a bit more of ║ │
│║ a Judas Priest character yet also having a guitar sound ║ │
│║ more in line with 1987 thrash practices. While ôSave The ║ │
│║ Skullö and the somewhat Iron Maiden-like title song ║ │
│║ ôBreaking The Silenceö are the strongest highlights on ║ │
│║ here, this album will probably be more readily remembered ║ │
│║ for the cover song, mostly because of its striking ║ │
│║ difference in character and somewhat lighter feel. ║ │
│║ ║ │
│║ ItÆs pretty difficult to go wrong when dealing with the ║ │
│║ vast array of polished and powerful acts that flowed out of ║ │
│║ San Francisco in the later 80s, but the more nostalgic ║ │
│║ crowd who likes a faster and more furious version of the ║ │
│║ creepy, druids in the darkness character of early 80s ║ │
│║ NWOBHM in the mold of Satan and Venom will find this among ║ │
│║ the more inviting acts to come out of that era. The only ║ │
│║ thing that holds this album back apart from maybe a ║ │
│║ somewhat dated production is that it was followed by one of ║ │
│║ the more auspicious classics of all things thrash ôVictims ║ │
│║ Of Deceptionö, both of which are quite forgivable. ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 1. Death By Hanging 5:04 │
│ 2. Goblins Blade 4:33 │
│ 3. Open The Grave 7:22 │
│ 4. Pray For Death 3:42 │
│ 5. Set Me Free 3:46 │
│ 6. Breaking The Silence 5:50 │
│ 7. Worlds End 7:05 │
│ 8. Save The Skull 5:21 │
│ 9. Heathen 6:33 │
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│ Total Length : 00:49:16 │
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│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
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│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
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│ │
│■ ■│
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