Annihilator, or rather, Jeff Waters, had, in 1993, a more than difficult ballot, and was overcoming two seminal works as were "Alice in Hell" and "Never Neverland". Two works, which not only placed the Canadian training on the crest of the wave, but became, almost from the moment of edition, priceless treasures in the metalhead fiefdom. As a Slayer has always been thrown in his face not to build a "Reign in Blood", or Metallica a "Master of Puppets" Jeff Waters has always had in those two albums a kind of Achilles, some works overcome, that years later, and behind a devastating career, have not yet been matched.
1993 was a time of change in gender, Sepultura and Pantera and, increasingly reaching more people with a violent message, with Judas Priest and Iron Maiden uncirculated and Metallica bringing their sound to the charts, Annihilator sought easy to locate a problem not addressed to his music solution: merging the classic and accessible metal, cane and the usual belt speed. Annihilator were already a name with power in the scene and the third step was most expected. The mensaie no longer headed for the angry hordes Thrashers, no, now, Annihilator would direct the entire public metalhead, from Whitesnake fan or AC/DC, until Megadeth fan or Metal Church. You had to open the musical range if they wanted to survive a scene that was beginning to show signs of going to hell (Nirvana and the Grunge were starting to believe that the days were numbered Metal).
Some changes were to make for the new release, and as always, something which would become habitual in training, frontman Coburn Pharr was replaced by Aaron Randall, who walked closer to tessituras Hard Rock, but I had a blast voice that made it ideal for addressing compositions of greater weight and punch. Mike Mangini took over the work of the battery (replacing Ray Hartmann) and Neil Goldberg got to play all six strings at the expense of Dave Scott Davies (who would return the group over time). The new Annihilator were ready to face their third album, after tanning, and leftovers in the battlefield (bestial tours, and more than favorable reviews, with bands of level of Judas Priest, Pantera, Megadeth, Testament, Overkill or Destruction, abalaban them). It was the moment of truth.
The cover of "Set the World On Fire" shows us a picture of Alice, rather more grown-up (and living) in the times of "Never Neverland". Looks like Annihilator and go from Bangin illustrations and comply with a photograph to use, that if a certain charisma. These are times of change and sobriety. In 1993 no longer had both the covers with skulls, fire, tanks and devastated cities. Grunge sobriety, began to take its toll on the aesthetics of our beloved Metal. Let's see what kind of disc gave us the Annihilator teachers on this occasion. The Canadians had to prove that the third, also was lucky.
A lethal rhythm that combines guitars, bass and drums in a lethal and rhythmic dance, open season with item-disc title ("Set the World On Fire"), and with a sound close to the roar of "Alice in Hell "or" Never Neverland ", the song progresses without much change, but with great force, leaving us tired from moving the neck. Of course, the issue is not wasted forefront, but Jeff shows that few can measure it, both with regard to composing, and scorching spikes. Randall, the new vocalist, amply meets and demonstrates its good performance, with well-resistant and worthy of previous holders of the band microphone vocal cords. Theme by low speed, but instead, quite density. Great sound and classic band in all their shows. Infaltable on stage.
"No Zone" (with some his "The Fun Palace", but with a sediment's Hard Rock and "Deep Purpleliano"), "Bats in the Belfry" or "Snake in the Grass" (very cool Skid Row or Ugly Kid Joe), surprised the parish, delivering a lot of melody, closest to the Hard Rock to the old Thrash Metal or Heavy use. Topics perfect, with much feeling and definitely a delight for rockers tastes, but a rarity for waiting driven fan cool "Sixes and Sevens", "Phantasmagoria" or "Road to Ruin". It is noted that Annihilator, before sinking into the Thrasher scene, which began to disappear, got into waves, which although not hit them much, if they had left fucking. If you can not beat them, join him, and if the way you do it right, the better. Rare me the Annihilator sound, but sound good to hell.
Reaches a top disco gems, and comes from the hand of "Phoenix Rising", a beautiful and intimate ballad that without an extremely innovative nature if it catches and gives you deep in your soul metalhead. Example of how to compose something that comes, thrilling and that is to live forever in your brain. Simplicity, some beautiful strings and high quality. One of the best ballads that gender has. Immense, in its smallness. The hairs, which are no longer tip, no, I have pierced the skin and left me like a sieve. Goose bumps and pints of hairy hedgehog. That leaves you great song, that without seeming at all, so excited like "Fade to Black" or "Tears of the Dragon".
"Knight Jumps Queen" born with the help of a low overriding, which was soon added the whole band, to go speeding up the premise, tender filling Groovie, Jazz, reminiscent of Megadeth, Exodus so much choir and a battery perfect in execution and solidity. The truth, Annihilator sound again with personality, although the issue seems a discard-rarity of Dave Mustaine.
"Sounds Good to Me" (total aura Dire Straits), "The Edge" and "Do not Bother Me" (with a powerful ride, Rockabilly and festive) leaves us again, amazed, it seems that the spirit of Elvis Presley has gone to live in the compositions of the Canadian training. Of course, buy the album waiting Thrashers and auras cutting and schizophrenic will put the outcry, and rightly so. Annihilator have changed from one disk to another, the fierce roar Thrasher for tender bleating rocker, and damn, that sucks. To rock, we had to Def Leppard, Skid Row or the Gunners.
"Brain Dance" which closes the album, and opens with an intro of the craziest, it seems that takes off (just before the curtain falls, what a bitch), when in the end, we seem to have bought an album Fastway and the like, and not one of Annihilator. The theme seems a strange version of its tremendous "Sixes and Sevens" but without that grace and charisma of the subject, and of course, with a force overshadowed by both rockeril tribute. A final point majete with groovy tempo changes and a certain charm, but nothing that has not been surpassed in the past or in the future.
100% for this... that despite having their certain level, certainly is very small next to his two older brothers ("Alice" and "Never Neverland"). Upon hearing the album for the first time, it really scared me, but over the years it takes him some affection. Of all the sonic sons of Waters, this is perhaps one of the weakest.