WAREHOUSE find from 1988! They were at least as good as, say, Metallica. Both their songwriting and performances were strong, and they had the album cover art to go with it. Combining the gut work of Morbid Saint, Demolition Hammer, a little Sadus and Acrophet, and even tinges of demo-era Metal Onslaught during the many slower churning parts, the foursome ride thrash's jagged spark that was starting to lose some of its serration to the style's more clinical sheen that had come around about this time. When flying along fully blown, things are blustery, unshaven, and even disheveled ("Ashes to Ashes", "Froze in Fear", "Surrender to Death") like a relentless storm, spilling unforgiving acid rain all over these rhythms in supersonic torrents until the band has no choice but to initiate mph breakdowns, acoustical contrasts, and even crickets, like the one bridging savage opener "Dark Despair" and "Waters of Lathe"'s tighter, more threatening march, and ominous piano plinks the entrance of "Cease to Exist". However, a more important paragraph in Necropolis's two page handbook is their acceptance, or should I say understanding, of not having to break the sound barrier in each track, notably in "Waters of Lathe", though "Cease to Exist"'s half n' half velocity shares similar range. Despite this, there's no lull in energy level; from first to last note this eight-tracker will dislocate joints of anyone in the room.