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eBay Brand new, sealed. RAZOR – VIOENT RESTITUTION High Roller Records, reissue 2022, white/ grey merged w/ red splatter vinyl, ltd 500, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel/ Temple of Disharmony Stace “Sheepdog” McLaren – vocals Dave Carlo – guitars Adam Carlo – bass Rob Mills – drums – The Marshall Arts – Hypertension – Taste the Floor – Behind Bars – Below the Belt – I’ll only say it once – Enforcer – Violent Restitution – Out of the Game – Edge of the Razor – Eve of the Storm – Discipline – Fed up – Soldier of Fortune specially mastered for vinyl by Patrick W. Engel/ Temple of Disharmony, 100% original sound, no remaster! »Violent Restitution« is Razor’s fifth full-length album, bridging the gap between »Custom Killing« (1987) and »Shotgun Justice« (1990). It was originally released on German SPV Records in 1988, containing 14 tracks altogether, many of them under three minutes long (such as the lethal “Behind Bars” or “Below The Belt”). The album was recorded at Phase One Studios in Toronto, Canada. »Violent Restitution« is dedicated to action movie actor Charles Bronson. It is the first Razor album to feature new drummer Rob Mills, who does a fantastic job. Adam Carlo, Dave Carlo’s brother, had joined the band on bass. »Violent Restitution« is also the last record to feature original vocalist Stace McLaren and is therefore loved by die-hard Razor fans and described as the final “authentic album” of the band. 1988 was probably the year in which thrash metal had reached its commercial peak. Razor have always remained true to their raw and aggressive thrash roots. Whereas bands like Heathen, Blind Illusion, Meliah Rage, Toxik or Agent Steel, to name just a few, brought an increasingly technical flavour to the genre, Dave Carlo’s bunch remained as unpolished and straight as on their fantastic debut »Armend And Dangerous« (which still awaits an official re-issue). In fan circles, »Violent Restitution« has become some kind of a cult album, for many it even marks Razor’s finest hour. Even if that seems like a bit of an exaggeration one thing is for certain: the 14 tracks perfectly sum up Dave Carlo’s unwavering vision of true blue uncompromising thrash metal with that tiny punk edge (just listen to “Fed up”). Matthias Mader It’s always nice to come back to the golden age of thrash: the riffs were ravenous, the sound qualities were meaty, and the bands weren’t mere caricatures of the subgenre’s giants. Razor, the Canadian thrash juggernaut whose riffs and intensity are as swell as it gets, has really never flopped. One could turn around and toss a bouquet into the arms of any of the group’s records and feel pretty confident a bridesmaid will have a shotgun wedding right around the corner, but “Violent Restitution” is something special. I’m not sure it’s valid to call it Razor’s best work when most of their other albums are neck-and-neck in terms of quality, though it makes the case to be the perfect representation of what it means to be Razor. Detailing this phenomenon is somewhat tricky. It helps that Razor doesn’t pretend to be interested in flirting with other heavy metal subgenres or compromising the thrash metal seeds, which are in full bloom here. Sheepdog, in what would be his last effort as vocalist for Razor, is wonderfully placed against the constant storm of fast picking and pounding drums. His wails and aggressive tone are noticeably lighter than Bob Reid’s, though there exists a brand of warmth in how he executes his street-fighting yelps. I’ve always assumed his style would better fit a crossover group, but the shades within his tone, execution, and aggressive tenor pay justice to his efforts. “Violent Restitution” shows his performance running wild on the chaos of Razor’s maniacal waves. It is important to point out there are seldom rough differences between Razor albums; pinpointing what makes “Violent Restitution” so enticing boils down to the nuances, as usual. Expecting a storm of blazing riffs isn’t breaking news, but finding another Razor release with such corkscrewing sequences twisting in and out of a sound quality that is raw as red meat is quite debatable. “Violent Restitution” has what is one of the finest song collections among Razor’s catalog. Blazing beatings like “Taste the Floor” and more mid-paced, rocking tracks such as “Out of the Game” are different but clearly of the same breed, though “Enforcer” remains my favorite. One thing to admire is how unbelievably vicious the whole thing sounds. The skin-peeling speed of the riffs notched up to the constant snare abuse and Sheepdog’s vocals brew up quite the storm for “Violent Restitution” to strut its stuff. Razor manages to sound like Razor; there are seldom surprises. But for a group whose identity had reached fruition early on, “Violent Restitution” brings together a ferocious arsenal of thrash. Razor’s knack for tracks running for just a few minutes is in full bloom and spitting out what are among the heaviest and fastest Razor tunes around. The sound quality—more often a do-or-die factor for thrash albums than not—is awesome; totally meaty and raw but with an instrumental balance that conveys the carnage wonderfully. What we’re left isn’t per se the best Razor album, but one that definitely makes the case to be among the top of the class. Just another mandatory Razor record that will rip one’s spine out via the pooper and refuse to apologize for the mess. Violent Restitution is the thrash metal equivalent of being manacled to a batting cage and having each member of the Bad New Bears roster beat you in the ribs, liver, balls, and upside the skull a few times in succession; then to smirk and spit in your eye as they hand off the sporty bludgeon to their next teammate. It’s just THAT fucking entertaining and abusive, and in my opinion, one of the most fun, frenetic and simply intense efforts of its kind in existence; certainly one of the most incendiary and memorable speed/thrash records of the 80s outside of Germany or California. I’ve gotten so much enjoyment from this album in the past quarter century, that despite having purchased the LP, cassette and CD versions, I feel like I owe Dave Carlo at least another $100 dollars and a six-pack. You know the old saying ‘they don’t make ’em like they used to’? Well, this is the living, serrated proof of that statement’s validity. Even though I’m annually inundated with countless, excellent examples of blackened thrash, death/thrash or hyperactive paeans to the 80s, many of which manage to successfully ape the visceral excitement of a record like this, there’s nothing quite the same. Like a Reign in Blood, Darkness Descends or Zombie Attack, it fashions the most straightforward of intentions into a seamless bloodthirst. Fast drums, angry riffs hurtling past you at a mile a minute, and gruesome vocals that sound like they’re coming from a man who was just stabbed in the face during some barroom altercation with a half-broken glass bottle. No riff seems out of place, no derelict tempo or stylistic diversion enters the frame to diminish its momentum. Violent Restitution never pretends to be what it’s not, knows and respects its own boundaries, and offers you precisely what its cover implies: an escape into social unrest, serial killer b-flicks, and a repository for unchecked, unapologetic masculinity. So close to perfection that you can taste it. In fact, if I wasn’t such a massive nerd for Voivod in their prime, this would prove my favorite Canadian metal record. Ever. Like its chronological/national neighbor Dimension Hatröss, Violent Restitution is a concept album. But the theme here isn’t rocket science or speculative microscopic adventure. No, this is about 14 ways to kick your ass so hard that you’ll have to floss your colon after it comes up through your throat and breaks all your teeth. The riffing provides the central force, tireless escapades of rapid mute picking and barrages of chords, coiled in the potency of Carlo’s chosen tone. The guitars have more punch than almost any other Razor record. Less reverberated and atmosphere than an Evil Invaders or Executioner’s Song, but denser and more effective than an Open Hostility. While Dave is the epitome of the thrash rhythm guitarist, even more so than fellow Canadian Jeff Waters of Annihilator, he’s also quite capable of unhinged leads (“Eve of the Storm”, “I’ll Only Say It Once”) that offer the bluesy, burning wildness metal snagged from its hard rock ancestry; or brief, spurious runs up and down the higher strings which add an extra level of chaos and acceleration to the standard machine gunning rhythm matrix he radiates. Everything else on this album is secondary to that guitar, but by no means does it go down without a fight. Rob Mills’ drums slap along like empty buckets being strung along a dragster on the speedway, and while there’s not a lot of variation in what he’s playing, he amply fills the shoes of predecessor M-Bro. Adam Carlo, younger brother do Dave, is the other new member on bass; and though his lines do little more than to mimic the guitars and increase their depth, there’s this natural, pluggy tone to his playing that pounds away at your eardrums like the pulse of a heroine addict who just realized he’s out of supply. Overall though, the album’s engineers and producer (Brian Taylor, who had also worked with other Canadian mainstays like Sacrifice) did a knockout job of presenting Razor in this pummeling, pungent sound that easily trumps the airy aesthetics of its predecessor Custom Killing, or the thinner mix of Malicious Intent. I should mention that the chainsaw samples, which appear at several points on the album, are excellent, and fire up the loins of the album’s pacing even further. Unlike the ass-backwards, terrible Southern hard rock band Jackyl, whose cut “The Lumberjack” featured a chainsaw ‘solo’ and helped buy their fame, the gimmick is a lot more fun here, since it’s obvious influenced more directly by the slasher flicks of the 70s and 80s. Violent Restitution, after all, is a very violent album, so when that buzzsaw begins a buzzin’, it forces the listener to want to kick all that much harder. Razor also perfects their instrumental thrash opus here with “The Marshall Arts”, an aptly pun-titled piece of moshing resilience which features some of the explosive riffing on the album straight out the starting gate. I’d place this in the arena with just about any other track of its sort, certainly with S.O.D.’s “March of the S.O.D.” which had become so famous through its stint as the intro to Headbanger’s Ball. Stace ‘Sheepdog’s’ vocals here are a tinge dry, but he’s using the same register as the previous albums, with a lot of puerile, irascible barking and slight screams that beautiful permeate the brash hostility of the instrumental foundation. Alongside Jeff Becera or Cronos, this guy had hands down one of the best voices in the business, grimy in all the right ways and places. Violent Restitution would prove his swan song with Razor, and the metal scene in general (he did a brief jaunt with Infernal Majesty this same year that never amounted to anything), and let me say this: the loss is ours. Unlike most of the newly birthed thrashers of the current era, he has an instant character to his inflection that never evades your memory. It’s not ‘trying’ to amount to anything, it simply is, and it’s a fucking bloodbath well-suited to the hilariously blunt lyrics, a non stop flood of expressions guaranteed to get your face (or someone else’s) clubbed in an alleyway. 41 minutes. 14 tracks. Choosing favorites among them would be nearly impossible, since the quality is so taut and consistent. Obviously “Behind Bars” has received much attention through covers (like the great Cannibal Corpse version), but “Hypertension”, “Taste the Floor”, “Enforcer” and so many others belong on a highlight reel of the 80s’ greatest thrash. I also loved the smutty “Discipline”, or “I’ll Only Say It Once”, which hearken back to the molten speed-dirt of Executioner’s Song; and “Out of the Game” with that amazing mid-paced riff that just pops along up until the verse erupts. Only a hand few fall shy of perfection, like the title track, but at worst it’s only enough that I could graze off a few points to my overall score. Yes, just a marginal increase in depth would have netted this a 10 out of 10, 100%, but it’s nevertheless one of the most essential purchases a thrasher could make. Even in a year of brilliant extremity like Blood Fire Death, Punishment for Decadence, Leprosy, South of Heaven, The Morning After, and Malleus Maleficarum, this still earns a spot at the dinner table, and sharpened utensils with which to carve you up. Prepare for evisceration. Prepare for impact.
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