Before good old thrash, there was good old punk, and Onslaught prove 100% the legitimacy of that axiom. The veteran band emerged from the legendary British hardcore scene in their early days, shocking the thrash world, which was already boiling, with two landmark albums full of rawness, violence, and energy. “Power from Hell” and “The Force” may lack the recognition of releases from German or American bands of that era, but their ominous atmosphere and brutality set new standards -and those who know the whole truth are well aware of Onslaught’s pivotal contribution.
Forty years after their debut, the band still exist and decided it was the right time to celebrate. Certainly, this milestone aligns well with their new label, Reigning Phoenix Music (it’s not every day a band reach such an achievement). Seizing the opportunity to offer a gift to their fans, Onslaught released “Origins of Aggression”, an aptly titled special double album that harks back to the early days. The album features re-recorded versions of classic songs with the current line-up, alongside covers of hardcore punk and heavy metal tracks that heavily influenced Onslaught. That means almost 1.5 hours of thrash!
Certainly, when your history involves the above-mentioned cornerstones, quality is guaranteed. The band perform with full force and unrestricted aggression, reigniting the flame of their youth (notably, drummer James Perry isn’t even forty years old!). Their enthusiasm in the studio is evident, translating into the amusement of our fortunate hearts and the destruction of our unfortunate necks.
When we talk about thrash-o-punk dynamites from the debut -like “Thermonuclear Devastation of the Planet Earth” and “Angels of Death”- and the savage titular song, or thrash anthems from “The Force” that many of us grew up with (“Metal Forces”, “Let There Be Death”, “Fight with the Beast”, and “Thrash Till the Death”), any further comments seem unnecessary. Add to this a surprise from their distant hardcore past (the forgotten “Black Horse of Famine” from 1983’s first demo cassette) and the band’s legacy speaks for itself.
However, Onslaught have changed over the years, and their latest albums embrace modern and groovier styles. Consequently, production aligns with these contemporary standards. You should forget the archaic, directly-from-the-crypt sound of “Power from Hell” and the hack ‘n’ slash rawness of “The Force”, but that doesn’t mean that things have become overly polished. The approach here delivers a crystal-clear soundscape while respecting and retaining the overall aggression. In this respect, “In Search of Sanity” and “Shellshock” from 1989’s less successful album are more favored, finally receiving the savagery they deserve (you may recall how incompatible that work was with Onslaught’s image).
Garnett’s effort is commendable, as he works diligently to uphold the band’s legacy. While I’m not yet fully accustomed to his approach to the old material, his voice matches even better in the equally captivating and full of energy second part, where Onslaught pay tribute to the bands that influenced them. Since hardcore punk is the root of all evil, it’s well represented with covers of Discharge (three tracks), Dead Kennedys, The Exploited (Wattie, you giant!), Sex Pistols, UK Subs, and GBH -all of them fit perfectly with Onslaught’s style. Notably, the excellent rendition of Motörhead’s “Iron Fist” deserved its top-billing -after all, Uncle Lemmy’s influence permeates thrash, punk, hard rock, and beyond.
Judas Priest’s “Freewheel Burning” is both engaging and decent, while Killing Joke’s “Wardance” features an appreciated industrialized heaviness that diverges from the hardcore adrenaline. If any cover were to be omitted, it would certainly be “War Pigs”, since its inclusion doesn’t enhance the overall experience. That said, hardcore energy flows wildly, and one mediocre choice won’t detract someone from the thrill.
Now, if you were to ask me whether we needed these re-recordings, I’d certainly answer “No”. I’m one of those who adore the old-school sound, and each time I listen to Onslaught’s early, immature material, I’m always touched. However, since we’re celebrating a very special occasion I cannot help but set aside my personal perceptions and thank the band for their longevity and the experiences they still offer. Nevertheless, this album might be the perfect opportunity for young fans to “meet” the band and later discover their past.
After almost ninety minutes of a hellish performance, you might think that Onslaught were yearning for this album. That’s true -the unleashed passion during these purposefully selected recordings will surely overwhelm you. They made something respectful, honoring their history – and I think there’s more to come.
♦ 8/10
Alex Nikolaidis
