Sodom is one of my top 3 favorite bands and I‘ll never get tired on writing articles about them. After 3 thrash revivals or more (I stopped counting many years ago) since 1989, Sodom are now considered to be one of the megatheriums of Heavy Metal and if you prefer especially Thrash and even more specific Teutonic thrash metal. But in the 90’s people seemed to have forgotten them somewhere between grunge and mainstream metal and even worst guys that were into Thrash felt that Sodom were too punk for their choices as if punk was something bad or something. Some felt that after “Tapping the Vein” that was almost a death metal album, the band have betrayed their principles and their turn into punk and more d-beat tempos, made them trespassing some limits that some stubborn fans have created. Ok, it is another thing not to like an album or a new direction of the band and it is a total different thing to say this is not Sodom…After all Sodom were always, even in their proto black years or when the band called their music “Witching Metal”, the punk elements were definitely there.
Well in 1994 things were really bad for Sodom. Lineup changes as guitarist Andy Brings replaced Michael Hoffmann and Frank Blackfire, “Get What You Deserve” was Sodom’s sixth studio album released on 10 January 1994 via Steamhammer/SPV. It was also the first record without drummer Chris Witchhunter, (now he is back in the band as he was recruited in 2019), that was kicked out of the band in 1992 due to alcohol problems, and this record marks Guido “Atomic Steif” Richter’s (previously on Holy Moses, Living Death and Violent Force) debut behind the kit in a full length as we have taken a first taste in “Aber Bitte Mit Sahne” EP.
Despite the new members the LP has a solid sound and a great chemistry among the band’s members as if they have been playing together for years. The lo-fi production makes things tough and when things get tough the tough gets going…so Get What You Deserve is raw, sick and primal, so whoever likes polished metal can stop reading now, immediately .
The (thick as always) bass lines in the veins of Motörhead (on speed) are a bit in front even for Sodom, and the guitars are sounding in a secondary role, based on punk chord sequences and the drumming is an ode to d-beat in its most straightforward way. The compositions use simple structures leaving space for Angelripper’s thick bass line becoming the central instrumental, plus his ferocious roaring to dominate the album. Whoever was paying attention back then, could see the new Sodom approaching a year earlier on the “Aber Bitte mit Sahne” EP; open winding the issues that their lyrics deal with, as in this album Angelripper has written some interesting stuff. The same tilted opener is tale of revenge, while in “Tribute to Moby Dick” that is instrumental song, but it is inspired by the 1851 novel by Herman Melville, is something that shows a different side of the Germans, in “Eat Me” the lyrical content details some rather sweaty and perverse sexual exploits, in “Silence is Consent” (which Sodom made a video for) speaks about people who refuse to speak up about a serious issue they face, suggesting that by ignoring the problem and not fighting it back is in another way consenting for the crime actions to take place. They also have a song inspired by Star Wars…,the use of German language and sometimes with a sense of humor as in “Die Stumme Ursel” (previous humorous lyrics can be found in songs like “Wachturm” from Tapping the Vein and their cover of Austrian pop legend Udo Jürgen schlager pop hit in the aforementioned “Aber Bitte mit Sahne” EP which by the way is translated in English into something like “But with whipped cream, please”), the punk attitude (the hardcore inspired songs “Sodomized” and “Abuse”), the rough production.
Furthermore the punk meets shlager motif (Schlager music German: [ˈʃlaːɡɐ], “hit(s)” is a style of European popular music that is generally a catchy instrumental accompaniment to vocal pieces of pop music with simple, happy-go-lucky, and often sentimental lyrics. In the United States it is also known as ‘entertainer music’ or ‘German hit mix’) will lead to Onkel Tom a couple of years later, another project where Angelripper shines his talent on thrashing whatever he touches. Speaking of Tom let’s all agree that here we are dealing with the most predatory, ravening and savage vocals he had ever recorded.
The whole album is an invitation to a punk splatter Thrash party that you don’t want to end for you as the night ended for the fat guy in the artwork cover. What an album artwork indeed! It really captures in one picture the chaotic atmosphere, the filthy aura and Sodom’s badass attitude that prevails in the album’s 44 minutes (and 13 seconds). Here we jump also into a Venom cover, (“Angel Dust” original recorded by the English titans in 1980 for the “Demon” demo but most of us learned it from their 1981’s debut album “Welcome To Hell” ) that closes emphatically the LP.
Personally speaking the album in its entirety is a highlight but with a gun on my temple I should pick: “Die stumme Ursel”, “Unbury the Hatchet” ,“Get What You Deserve”, “Jesus Screamer”, “Delight in Slaying”, “Jabba the Hut”, “Gomorrah” and “Erwachet!”.
If you really don’t like the album Jabba the Hut comes every night to your bed and licks your big toe…every night…Jabba the Hut man…c’mon everyone knows Jabba…Star Wars…ok, google it young man…