Trouble’s classic debut album from 1984 with faithfully restored audio represents everything that Doom Metal should be. Remastered by Toneshed Studio.
In light of his virally induced death over a year ago, Eric T. Wagner's Trouble franchise - precisely, 1984's titular pinnacle - remains fabled instigator of multitudinously paced doom metal which combines slow, stew-y tempos with speedy hat drop occasions of hard-driven counterstrike known to shake one's halo off their pate. Also, Mister Wagner's tremulously theatrical signature warble appoints a unique touch to Trouble's zanily zygomatic, skeleton clack soundscape.
Back when I lived Quebec-side, this forty minute, eight track classic comprised crown jewel of my "retro" record collection. I'll never forget the reaction of a hip-hop digging pal, whom, upon hearing krome dome collapsing main riff to "Assassin", pledged guest allegiance to said brand of hijinks, not least of which include twin tandem guitar riffage and soloing of Bruce Franklin and Rick Wartell, above jiving duo of bassist Sean McAllister and fellow Troublemaker, drummer Jeff Olson.
The Chicagoan quintet opens up with its longest, most meandering, fit-for-closure cut "The Tempter". Wheezing its hell spawned way out of unnerving coda, a darkly ominous blues lick and steady handed, palm muted revolution take turns between Wagner's shrill, ever priestly vocals, with unhinged bout of Tony I. style rips to complete the picture. Once "Assassin" launches its firestorm of a tirade, all bets, gloves and gauntlets are off.
For instance, the first verse delivers a similar knockabout smash as Grim Reaper's "See You In Hell". Actually, our friend Nate Towle (of Extermination Day and Wicked Inquisition renown) pulls off an exemplary cover somewhere in the vicinity of an infamous tube. On a musical level, both the song's brief duration and expedient, action packed essence (with dense, terminal velocity lead) bring to mind that old Birmingham staple, "Paranoid" - precursor to Domino's Pizza's The Noid.
If "Assassin" represents Side A's ultimate gateway to heaven, Side B thrasher "Fall Of Lucifer", which comes after another memorable title, "Bastards Will Pay" (hello, apocalypse creating/evading prepper billionaires), impacts with full force of his satanic majesty's royal hammer thanks to its kick-arse stop-and-go motion, Big E.'s evilly elfish scolding and, of course, spontaneously magical super solo which blows me away. It doesn't take X-ray vision to intuit pinkie dominated Black Sabbath influence.
As it winds down, a reverse variation of the main riff further evolves until even more staggered crunch-riff ensues - the final rites to Trouble's must hear, gargoyleian doom annals footnote. Rest peacefully, fellow namesake
Sample:
https://www.youtube.com/watch?v=q-rhMGxDa6c
