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██▌ Artist...: Energetic Krusher ░▐██▌
░▐██ Album....: Path to Oblivion ░██▌░
▓▐██ Year.....: 1989 ▓▐██▓
▓▐██ Rel. Date: 2026-11-01 ░▐██▓
▐██ Genre....: Thrash Metal ██▌░
░ ██▌ Label....: Vinyl Solution ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Lord of Darkness 5:42
2. The Blast 3:28
3. Thrash Ritual 2:10
4. The Blades 3:55
5. Battle Cry 1:50
6. Brain Damage 4:07
7. Yukk 1:17
8. War Path 4:12
9. Back from the Dead 4:14
10. Energetic Krusher 4:52
35:47
For a year where death metal was rising to the surface, and thrash was
slightly past its peak, I'm amazed that this band didn't get the
attention that they deserved, seeing that they utilized both very well.
If music could be placed in the periodic table, this one would have a
very high atomic mass. The way that it piles on so many layers to
achieve this thickness, yet still maintain that raw sound is incredible.
For one, the instrumentation is rather murky, and has such a dirty
sounding atmosphere, and you can tell that the whole thing is
underproduced. But don't be fooled, because it's not your typical,
stripped down, garage-type metal. For one, the bass is so fucking heavy,
that it's almost as prominent as the lead guitar. The track "The Blast"
basically speaks for itself, as the bass gives it twice the pressure
that would be here with the guitars alone (take notes, Tom Araya). Also,
the intro to "War Path" absolutely nails one of the greatest bass
openings I've ever heard. This, along with the intense kicks and
machine-gun type drum beats basically finish it off, and without either
of these, this record wouldn't be so special.
Alongside these weight inducing instruments, we can't overlook the
amazing guitar playing here, as it's dropped down and serves as the
foundation for the whole effect we're given. While the other instruments
give this a death metal type overlay, the riffage is about as thrashy as
you can get, with vicious shredding speed and all-over the board solos.
But it isn't all stuck to just one formula, because some tracks, such as
"Back From The Dead" slow it down a bit. Rather than using a fast
picking speed metal style, they include melody and a little more
complexion in some of their riffs, much like that of a classic Overkill
track (not that they aren't the kings of speed in some songs). One of
the coolest parts about this track is how it lays on a solo right behind
the already insane bass work, riffing, pounding drums, and of course the
vocals.
That's one thing I haven't really mentioned yet, the vocals. And
although I've done nothing but praise this release, the vocals are what
brings it down a bit for me. I truly have a hard time getting past them,
because they're basically just deep pitched, growled, outbursts. There's
really not a lot of change throughout the record either, as this stays
pretty stagnant from start to finish. With a taste like mine, really
harsh vocals are hard for me to get into as is, and if they aren't at
least interesting in some way, there's no way I'll be able to dig it.
Thankfully, the music makes up for this. The bass is beyond spectacular,
the guitar work is excellent, and the drums just blow you away with
every beat. If the vocals were executed in a better way, this would rank
really high.
--
When thinking about thrash metal circa 1989 in the U.K., there are a
number of images that come to mind, but none of them fit the bill of a
raw, semi-death metal infused rage with a side-helping of crossover.
After all, this was the heyday of the largely Bay Area informed and
moderately aggressive rage of Xentrix, Slammer and D.A.M., as well as
the quirky NWOBHM meets progressive interlude that Onslaught went
through during their brief "experimental" run with Steve Grimmett at the
microphone. But by way of a massive contrast, the sadly short-lived
beast that was Energetic Krusher was on a very different road, one that
comes a bit closer to what was going on in Germany, Brazil, the extreme
fringes of American thrash as exemplified in Slayer, Possessed and
Morbid Saint, and even finds itself flirting quite heavily with
contemporary Florida death metal acts Death and Obituary.
In terms of aesthetics, both visual and musical, this band's lone studio
LP Path To Oblivion has all of the right elements to find itself being
mistaken for a death metal album, and just enough of the stylistic
trappings of thrash to justify not being labeled as such. The haunting
imagery found on the album art could easily be likened to the artistic
style of a number of early day Swedish death metal acts, being both
vividly literal to its occult character and also with some subtlety (see
the demonic shadows on the trees to the left and right). Vocalist Ali
Lynn spends most of his time in purely guttural territory normally
reserved to David Vincent and John Tardy for this period of time, though
it wasn't unheard of for thrash metal bands to get close to the depths
and depravity heard on these songs when considering contemporary works
out of Sepultura and Kreator. Pretty much the only thing that keeps this
thing lodged in thrash metal territory is that the music doesn't cross
that thin-line that separated Slayer and the Teutonic Trio from Death's
earliest albums, primarily the character of the riff work, which is
definitely heavy and dissonant, but not quite enough to move from
Pleasure To Kill to Leprosy.
Much of the work found on here is highly methodical, exploiting all the
talents of every musician involved and making for something that almost
comes off as technical despite the generally simple demeanor of these
songs in terms of structure. There is a fair amount of fancy bass
activity that runs parallel to the guitars, coming off as a sort of
orthodox reassertion of what Cliff Burton took to Metallica, but without
the distortion effects and overt Black Sabbath-like quirks and a bit
more of a plain, Nuclear Assault take on using the bass as more than a
support instrument (*cough* Tom Araya). The Nuclear Assault comparison
actually works in a couple of other surprising ways as in spite of the
death metal character of the longer works on here, they throw a couple
of short ditties like "Yukk" in that remind of the hardcore interludes
such as "Hang The Pope", though perhaps not as overtly comical. The lead
guitar work is the only area where there is a consistent non-death metal
aesthetic, as the solos don't exhibit that exaggerated chaos first
pioneered by Kerry King and listen closer to something out of Gary Holt
or Alex Skolnick back in the early days of Exodus and Testament. It
makes for a somewhat conservative, but definitely satisfying flavor to a
mix of otherwise forward looking madness.
Despite frequently resorting to shorter and more punk oriented songs,
and the fact that the remnants of this band would later form another act
that would head in more of a punk/crossover direction, this album is at
its best when things are stretched out to a typical thrash metal song
length of over three minutes. Indeed, the opening epic that all but
listens like a slightly better mixed answer to Slayer's "Hell Awaits"
that is "Lord Of Darkness" is a veritable classic thrasher unto itself
that could easily trade blows with aforementioned song, among a number
of other powerful works out of mid 1980s Sepultura and Sodom. Similar
albeit slightly shorter cases of hard hitting thrash metal with a dark,
death metal flavor to them in "The Blades" and "Warpath" trot out some
fairly haunting elements, the latter actually starting off almost like a
Slayer song reinterpreted with a slight Testament flavor (think the
gloomy clean guitar intros littered all over The New Order). But barring
the occasional short number that throws off the overall flow of things a
bit, pretty much every song on here is a keeper. It's a shame that this
band self-destructed so early, given that they could have rode the wave
of early 90s death metal alongside Benediction for a couple years before
Grunge started screwing with everything. To steal and modify a cliche
quote, we'll always have 1989.
--
The greatest thrash band you've never heard? Energetic Krusher might
just fit that bill, ironically coming from the UK of all places. Save
for Xentrix, this is a scene I instinctively associate with lighter fare
like Acid Reign, Slammer and Re-Animator. Path to Oblivion's moody cover
art screams early death metal, and that is very much what Energetic
Krusher deliver in spades alongside the dense, dirty riffs and Lynn's
sneering, punchy vocals. Although not as overtly brutal as say,
Demolition Hammer, Energetic Krusher earn their keep courtesy of
harried, complex song structures and monster thrash breaks interjected
alongside continuously upbeat tempo and velocity. Looks like this one
might be worth digging out from the back of your closet after all.
The year of release (1989) really shouldn't fool anybody, as Path to
Oblivion sees a thrash band taking the road less (or seldom, at the
time) traveled, dialing up the ferocity without necessitating a decrease
in speed. Knock this album one or two notches down in speed and it
becomes eerily similar to Altars of Madness, so it isn't all that
difficult to deem Energetic Krusher proto-death metal in many regards.
All of the early stylistic hallmarks are here, albeit not absurdly
overt. The pretty typical thrash framework is adorned with mildly busier
tremolo picked sequences and bruising, rangy organ grinders like the
punctual "Thrash Ritual" and more fleshed out (and flesh ripping) "The
Blades," which simply oozes inky abhorrence. The haunting resonance
evoked by the acoustic openings of "The Blast" and "War Path" sounds
straight out of the moodier bits of The Years of Decay, only threaded
with manic savagery as opposed to controlled chaos. Swampy, evocative
and straight to the point, Path to Oblivion is chock full of spilled
viscera and reasons to check this forgotten band out.
Save for the unnecessary space-filler "Yukk," the remainder of Energetic
Krusher's performance here is as consistent as the songs are stellar in
isolation. Lynn simply devours the mic, grumbling and howling his way
through the thirty-five minute runtime. The stinking maw of "Lord of
Darkness" opens wide and devours all who dare venture near, giving a
singular taste of what is in store here. Wade and Parson's bustling
thrash chops slice and dice in a manner redolent of early Ripping
Corpse, especially on the eponymous closer "Energetic Krusher." The band
may arguably lack some level of subtlety and nuance, but the spatter
cast off from the blows repeated delivered within does accumulate to
something worth looking back on with warped gratification. I usually
come in at this point and go into detail concerning where the record in
question falls short, but I truly find myself grasping at strewn limbs
here.
The production is warm, full and dated in an undeniably endearing
manner; and despite the high end of the kit sounding a modicum hissy for
my personal taste, it is hardly a bother on the longplay. The savage
context engendered with Robert's intense drumming mans one hell of a
ship, and while some of the members went on have marginal success with
the crossover act Hellbastard, Energetic Krusher is where the true
quality can be traced back to. Don't let the infantile name of this band
turn you off, as I made that mistake upon first hearing these Englishmen
and was forcefully fed my harangues in short order. Path to Oblivion
needs to be heard, as it possesses a pummeling saturation not often
heard, and has only wizened and refined with age. It will shudder your
nethers and elicit ample neck straining; what a treat.
--
Energetic Krusher is an obscure British thrash band. Calling them
obscure is somewhat of an understatement, as not much seems to be really
known about them at all. But I do know one thing, they sure know how to
thrash.
Path to Oblivoin is fast and heavy album, even for 1989. The vocals are
a low growl, not too shy of old school death metal. The riffs are mostly
thrash, but there is the occasional proto-death riff here and there.
Most of the album is played extremely quickly, but with lots of the
mid-paced headbanger riffs thrown in between to change up the tempo and
make you thrash your brains out (mid-paced is a relative term here, even
the slowest riffs are not particularly slow). While there is quite a lot
of variety here in terms of songs and riffs, a lot of the album can
blend together, especially on a first listen.
Listening to this album, one thing you will notice is that Energetic
Krusher definitely knows how to write short songs. Three of the ten
songs on the album clock in around two minutes or less, these are some
of the best songs on the album, especially Thrash Ritual. Battle Cry is
also executed superbly, with a ten second 'slow' part that will make you
bang your head as if up from the dead. The longer numbers are chock full
of riffs, with some songs being relentless, while others like Brain
Damage are a bit slower on thee whole. Occasionaly we also get a badass
solo. The solos are not technically amazing in any sense, but they suit
the music perfectly and sound great. Kind of like the drums and bass on
the album... they serve their purpose well, but are nothing spectacular.
But most of the time you won't even notice the drums/bass, aside from
the occasional break with just some bass, it's drowned out by awesome
riffs.
Last but not least... the greatest thing about this album. The final
track, the eponymous "Energetic Krusher". THIS is the best track on the
album as far as I am concerned. "Energetic Krusher.... Energetic DEATH!"
It's heavy, it thrashes, it's even catchy as all hell. If for no other
reason, get this album for this song.
This album is wholeheartedly recommended to anyone that like thrash, old
school death, or music that makes them headbang like crazy. Your chances
of finding a physical copy these days are probably slim to none, but
it's certainly worth a download if you ever see it floating around.
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