Germany’s Protector was one of those bands that I kept to myself when I discovered them in 1988. I bought their albums, indulged in smug self satisfaction that I had a German band in my collection that no other thrasher had at the time when I bought the band’s debut “Golem” on its year of release. Taken aback by the sheer ferocity and stripped back deathrash crossover (as it is now called) style Protector was one mean bastard of a band with a violent point to prove. Criminally ignored by so called extreme metal press at the time the guys released four albums up to 1993, vocalist Martin Missy left after the second, “Urm The Mad”, and now some 20 years after masquerading under Martin Missy And The Protectors the vocalist checked with old members that there were no objections to him writing and recording new material under the Protector banner and here we are and though Martin is the only original member of the band I can firmly say that time has stood still for Protector and I mean that in an exceptionally positive way.
Not quite a true new album, this full length is a mix of new tunes and songs already available on other hard to come by splits or demos going back to 2000. Diehards like myself crave the old school sound, the raucous barraging drums, a bass sounding like its drilling through your cranium, guitars that hack savagely at the flesh and vocals that would strip paint, and for that reason I held my damn breath as the first chords erupted from the speakers on “Sons Of Kain”. Firmly entrenched in the Teutonic way of delivering thrash and death this reincarnation of Protector epitomises what was and still is genuinely barbaric about authentic thrash metal. The sound is bitterly sharp and crisp on the guitar as each note maniacally bores into your soul all accompanied by the thundering drums and bass.
“Deranged Nymphomania” conveys an 80s authenticity that many acts would bleed to get on their own records, as the tune shifts gear into double kick salvo and a borderline deathly atmosphere. I admit there were parts on this album I cringed a little at, such as the slightly clumsy drum intro start to “Holiday In Hell” as by now the guitar tone is very like the Bloodfeast debut “Kill For Pleasure” and maybe even like Slayers’ sophomore (if you don’t know which album that is then just piss off), more on the top end than guttural lower regions, the riffing satisfyingly carves deep wounds as it progresses. Listening to Protectors back catalogue in one go was one wholesomely satisfying thrash event I enjoyed and obviously makes one wonder whether the new material is likely to sound like their underrated gems, and I’m pleased to say that it wholeheartedly does and more. The swarming title track has that slow pulverising beat before an explosive riff break and cymbal smash; you just can’t beat this type of neck snapping devastation.
The bass intro to “Lycopolis” is prime time Protector, spiked arm bands, patches galore and time warping annihilation where chaos and violence meet destruction and ferocity head on. The result is a terrifying sonic obliteration that continues on “Road Rage” where ultra speedy riffs give way to a venomous aural battering; try headbanging to this and you will fail. Chunky riffs abound on “Antiman” with intermittent bursts of velocity bordering the speed metal in places.
Depending on what your ears are accustomed to this will either be a revelation in terms of second decade 21st century thrash or will send you scurrying into a corner quaking under the immensity of its faithful methodology of how thrash metal should sound, not the diluted clinical barf buckets you get now, but properly caustic, ear drilling dementedness.
(9/10 Martin Harris)
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