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██▌ Artist...: Sentinel Beast ░▐██▌
░▐██ Album....: Depths of Death ░██▌░
▓▐██ Year.....: 1986 ▓▐██▓
▓▐██ Rel. Date: 2022-01-06 ░▐██▓
▐██ Genre....: Heavy Metal ██▌░
░ ██▌ Label....: Metal Blade Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Retail ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Depths of Death 2:51
2. Mourir 2:48
3. Dogs of War 3:18
4. Corpse 4:10
5. Evil Is the Night 2:36
6. Sentinel Beast 5:01
7. Revenge 4:26
8. The Keeper 3:09
9. Phantom of the Opera (Iron Maiden cover) 5:52
10. Sentinel Beast 5:22
39:33
Like the other handful of thrash metal bands in the 80's fronted by a
wild woman, Sentinel Beast didn't exactly leave much of a mark back
then. Yet just by being part of this rare clique of groups, their
notability remains assured, and the fact that their music isn't some low
rent garbage doesn't hurt either. What also provides this act with a
strong sense of individuality outside of Debbie Gunn's vocal
contributions is the merging of their primary influences into a pretty
unique brand of thrash that's both melodious and savage at the same
time. The urban alley brick wall backdrop is there, yet the garbage cans
are polished and gleaming.
It's easy to conclude that they began their not-so-lengthy career as a
NWOBHM type act, with faster grittier thrash influences gradually
infiltrating their presentation, and by the release of this effort they
had blossomed into brazen speed/thrash while not disowning their
original intentions. The cover of Iron Maiden's "Phantom of the Opera"
finalizing this album is pretty telling actually, a caffeinated and
gritty take on the Paul Di'Anno sung classic. Most covers of this vein,
as opposed to covers of pop tunes or campy bullshit for laughs, act as
an homage to great bands enjoyed extensively by the performers, but in
this case it's more than a one-off in that the Paul Di'Anno era of Iron
Maiden is all over this fucking album. Sure, early Slayer figures in
heavily as well, but that's not exactly an uncommon influence for a
mid-80's thrash effort. A dirty street level speedy take on Maiden's
first two platters is a rarer three-headed beast though, with "Mourir"
resounding like a collective summarization of the album Killers with
some licks practically borrowed from the title track. Songs like
"Corpse" and especially "The Keeper" propel themselves at vibrant
"Murders in the Rue Morgue" tempos with some harmonized guitar and bass
work overlaying them much like what Murray, Smith and Harris were
pulling off in those early days. Even the ripping fast æmonikerÆ track
breaks into this melodic passage that's right out of the final minute of
"Genghis Khan".
Despite all this, Depths of Death is still one grimy mean thrash machine
with no shortage of rabid-paced firepower as songs like the gang-shout
enhanced "Dogs of War" and the awesome "Evil is the Night" can attest,
tearing shit up like Show No Mercy's speediest slabs. The riffs are
punchy and frantic though a bit primal in execution, resulting in a bit
of sloppiness that's not a detriment so much as a street-wise attribute
bringing out that ripped jeans and leather vibe. The dueling guitar
solos are also furious and fast, again meshing Slayer's anarchistic
attack with Iron Maiden's more melodic interplay, and underneath it all
Michael Spencer is one busy bastard on bass thanks to the obvious Steve
Harris influence.
It should be no surprise at this point to say that Debbie Gunn follows
suit, marrying a harsh forceful delivery with Paul Di'Annos sense of
melody and penchant for occasional vibrato enhanced wails. While her
craft seems weaned on singing over those two fucking Maiden albums
religiously in her youth rather than whatever professional options were
out there, her snarly yet slinky tone fits like a studded leather glove
over the music, providing the band with their most immediate
recognizable characteristic.
While the idea of "Show No Mercy meets Killers" sounds unquestionably
dope on paper, it's actually a bit distracting in the sense that I find
myself thinking about which of the two influences ring stronger at
times, and the urge to bust out early Maiden and Slayer starts badgering
me. It doesn't help that the production lacks overall power even for the
time of Depths of Death's release despite each instrument being clearly
discernible. The whole project feels a bit rushed as well, adding some
grit but at the expense of tightness, which is weird since I can tell
that this gang had some serious chops thanks to the sheer amount of busy
melodies riffs they incorporated into their thrashy rhythms. But what
really matters is that these songs are fast and feisty yet undeniably
catchy, and there's plenty of less agreeable styles of music to merge
and/or emulate. Hell, there's very little unrepentant thrash out there
that sounds like what Sentinel Beast gave the world in 1986, not just
due to the female vocals, but musically as well, and it would have been
the bomb to have seen them live back in the day. They might not be
Zn÷white, but they had a style practically all to themselves.
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