PROTECTOR-Golem 1988 ATOM Rec+ insert  bdb

Protector’s first album finally came out in 1988, almost one year after the great “Misanthropy” EP and a couple of demos from the mid-80’s; a bit later compared to some of their compatriot mates debut. By that year, thrash definitely reached its highest popularity and got consolidated; most of the bands from the first wave almost found their own sound, leaving behind the extreme sound patterns to get sophisticated and characteristic. Their friends Kreator and Sodom, for instance, introduced important changes in their music and lyrics, becoming more mature and solid. But Protector’s stuff seemed to fit more the early evil thrash ways of the half of the decade than the inoffensive and mellow trend that was becoming popular by the late days of the 80’s.

The previous EP made clear what these guys wanted and how they wanted it. What you will find here follows that same musical path with no notable changes or progression. Each song is plenty of raging riffs, fierce hooks, devastating blast-beats, rhythm changes and impressing low-tuned growling death vocals. The speed and aggression of the riffs is totally outstanding, making clear that the instrumental skilled parts follow the thrash ways, while vocals sound more like the primitive early death vocals we heard before from Death, Massacre or Possessed by that time. The combination of elements from both subgenres is absolutely convincing, brutal and intense. Maybe the material on this album might remind you of what Hellhammer, Sepultura, Sarcófago or other bands did before, but Protector added to that thrash/death combination the Teutonic extra passion and bestiality that made the old-school music from that country sound so unique and destructive. As you can listen on immense relentless cuts like “Megalomania”, “Delirium Tremens” or “Protector Of Death”, these guys can write very coherent straight song-structures, vary the riffing properly to give their compositions continuity and solidity, and perform quite difficult (not impossible) instrumental passages. The result is admirable, powerful and flawless. Songs like “Only The Strong Survive”, the title-track or the final tune featuring Mr.Angelripper “Space Cake” might sound kinda noisy at times, like what the Big 3 of Teutonic thrash did on their first records, but still professional and far from generic or ordinary.

Hansi Müller’s guitar parts are unleashed, uncontrolled and sharp, he’s doing his finest performance ever on this album. The way those riffs are executed is nothing technical or unbelievable, proper and skilled enough though so there’s no weak spot in the string section at all...apart from the solos. Some sound suprisingly well-defined and prepared, more elaborated than what this guy did on next releases, but I’m afraid his pickin’ parts are still too sloppy and quite short in general. Martin Missy’s voice here is undoubtedly special and incredible, with his growling abilities at their best on each song, each low or high note, providing the raw music of intensity and wickedness that not many could achieve by 1988. The classic Protector rhythmic section personnel with Ede Belichmeier on bass and Michael Hasse on drums is effective: check out the harsh bass lines on “Apocalyptic Revelations” or the rhythm changes on “Operation Plaga Extrema”. No mediocrity or incompetence can be found, superior technique either. We got here 4 great musicians on a fine moment. The song-writing work is as competent as on anything else Protector did before or later, slightly stronger musically though and plenty of their distinctive composition structures that refuse to focus on a single riff or use the same tempo for long. The lyrics are dark and evil for that year indeed, but also talking about other interesting and controversial issues (listen to “Germanophobe”). The production of Jörg Stegert (supported by the Die Krupps front-man Jürgen Engler) is primitive and noisy, very dirty and basic but for a death/thrash band that is not inconvenient or really negative, this bestial material would never fit a clean polished mixing and sound engineering job. And the cover painting is cheesy, but I assure you that what you will find in the album is not!

A jewel of Teutonic vintage metal that is still forgotten and unknown. I wonder if they would have achieved more recognition and popularity if they made this record 2 or 3 years before, when it was the right time for blackened sinister thrash. This stuff demonstrates the admirable musicianship, attitude and violence of their music, and remains as a proof of their genial creativity. You can put this material in the same level as what the Big 3 did back then, because it’s pure joy and amusement for any thrash or death fan without doubt. If you haven’t listened to it yet, then you know what to do; and for those who are into this music already, just remind them it’s always a right time to relive the omnipresent aggression (as the title of one of these cuts suggests) of one of the greatest bands from Germany ever. And of course, the #76 Pokémon has nothing to do with this album.