Ελληνικά
Last Updated on 04:36 PM by Giorgos Tsekas
A trying-hard-to-remain-objective review on the remastered records the Canadian war machine released just recently.
RAZOR. Canada. Thrash Attack. Need I say more? Three of the most powerful records the band ever released (and actually being out of print for quite a long time), now hit the stores completely remastered. Not only you can lose yourself into the classic voracious tracks of each record, but, you can be sucked into a vortex, compiled by previously unreleased material, including live / demo tracks, rehearsal or never before – heard material, coming straight from the core, Razor’s archives. Let’s take a brief look into these re-issues and their background stories.
“Violent Restitution” At first, “Violent Restitution” was released in 1988 via Steamhammer Records on a 12” vinyl. The record was double – sided, with seven tracks on each side. It’s the last album charismatic Sheepdog ever recorded with Razor, joining briefly Infernal Majesty right after, the same year. “Restitution” kicks off with an outstanding high-pitched 30second scream that’s forever imprinted in you, raping your soul. “Martial Arts” follows as one of the most paranoid instrumental tracks ever written in this genre. “Hypertension”, “Taste the Floor”, “Violent Restitution” and “Eve of the Storm” are some of the masterpieces of the record, that turned little boys into fully grown badass men. There’s no room for sympathy, romance, butterflies; only pure hatred and violence. It’s like, you DARE to skip “Behind Bars” to listen to “Below the Belt” when suddenly a hand pops out of your music player and slaps you hard in the face. A fully energetic, well – executed, full of brutality, passion and rage record, accompanied with a perfectly suiting production, which resulted into breeding hateful insane fans all over the globe. “Violent Restitution” was recorded during December 1987 and January 1988 at Phase Studios in Toronto.
For me, it’s the record that established Razor’s character. Comparing this release with the previous ones, which had this primitive speed sound, “Violent Restitution” has now moved into a more destructive thrash field. Moreover, Razor kept the thrash flag as high as it should have been, since they turned their backs to the technical thrash wave, which flourished with bands like Toxic, Forbidden, Heathen, etc.
Worth – mentioning is the fact that this re – issue includes a hidden track, entitled “Roll Out the Barrel” and three bonus live recordings (“Shootout”, “Snake Eyes” and “Martial Arts / Hypertension”) coming from a Razor’s gig in Toronto during 1988’s February.
As for the album’s artwork? A bleeding fucking chainsaw. Simple, bloody, lethal, to the point.”
Fan fact: The album is dedicated to Charles Bronson (1921 – 2003)
“Shotgun Justice” Theoretically, when “Shotgun Justice” was released, Razor experienced a transition point, in which lineup was changed, along with the sound and the band’s attitude; realistically though, nothing had actually changed. Rob Reid proves to be the safest and right choice for Sheepdog’s substitution. In the meantime, I don’t know if anyone has ever noticed this or if it’s just me, but Rob Reid is one of the most badass singers ever who managed to maintain a huge smile on his face in each video you’ll watch, even if he was talking about murdering your neighbor. Reid created a wrathful, hateful monster that destroyed everything in its way.
“Shotgun Justice” was recorded during July and September 1989 at Phase One Studios once again. It’s way faster and more powerful than “Violent Restitution”. Some believe it’s Razor’s best record; others think Razor could have produced something better than this. Those who belong to the second team could be easily labeled as “morons”. There, I said it. The album presents another change as well; the lyrical part has moved from stories of bar fights and thug life auto-biographies to more serious (and simultaneously sarcastic) comments on western civilization, with anti – society tunes and verbal attacks towards sell-out bands and labels. I’m sure you get the gist. Technically, what strikes you is Miller’s upward course; he plays faster than before and successfully manages to avoid making mistakes despite going full throttle. “Electric Torture” and “Stabbed in the Back” are definitely two of the most furious and ferocious tracks of the record.
The “Shotgun Justice’s” deluxe edition includes six bonus tracks, apart from the original 14; “Meaning of Pain” and “Violence Condoned” are live recordings, “Learning and Refining Cranial Stomp” is a rough studio recording, and “Miami” is included in its original mix while “Electric Torture” and “Brass Knuckles” are added in their alternative versions.
This artwork’s retouch has a more cartoonish approach; not a great fan of this kind of remake, but who am I to judge. After all, it’s the music that concerns us.
Fan facts: The album is dedicated to Mark “Hamilton Headcaver” Brzezicki. *Videos were made for “Shotgun Justice” and “American Luck”.
“Open Hostility” “Open Hostility” is Razor’s 7th full length studio album, released in 1991, and the last one before formally disbanding in October 1992. It was initially consisted of 12 tracks, while its freshly re-issued release includes 8 bonus tracks (four unreleased tracks, one rehearsal and three instrumentals). A highly controversial album, but if you get your facts straight you’ll realize it confronts equally on the same aspects both “Violent Restitution” and “Shotgun Justice”. First of all, as we all sadly know, Rob Mill’s car accident deprived him from his drumming duties, preventing him from practicing and actually recording for Razor’s account. So, Dave Carlo decided to take over the drum programming using some sort of drum machine. It may sound a little bit more mechanical and processed on the remastered edition, but who cares, really? On the other hand, low finances deprived the band from spending loads of money on producing the album, which led some of their fans to believe that this lowers the record’s quality. Well, certainly, that’s not the case. On the contrary “Open Hostility” is intense and unstoppable. The entire album’s recording took place in May 1991 by Brian Talor and James Stanley at Umbrella Sound studio in Toronto. “In Protest” and “Bad Vibrations” are the cornerstones of the album, whereas “Mental Torture” succeeds in sticking into your mind for ages. Generally, the record is chaotic; could serve ideally as a soundtrack for your town’s next destructive riot. Fast as fuck.
Lyrically, “Open Hostility” follows the same pattern; sarcasm, satirical humor and explicit content are the most essential substances for a record such as this.
Fan facts: This album is dedicated to the memory of Ray “Black Metal” Wallace. A music video was made for “Sucker For Punishment”.
“Violent Restitution”, “Shotgun Justice” and “Open Hostility” were remastered by Brad Boatright at Audiosiege while each artwork revamp is Alexander von Wieding’s work.
To put it in a nutshell and stop annoying you with my affection towards mighty Razor, the remastered versions of all three records have nothing to do with the remastered records other bands and labels release. Nothing’s essentially changed. Nothing’s corrupt. No false or fake sounds. They are decent, dignified re – issues that boost your love for Razor in a heartbeat; surely a heritage for the new generations; epitomes of frantic aggression. Add it in your collection; you won’t regret it! Cheers!
