UMUR "Doomsday for the Deceiver" is the debut full-length studio album by US, Arizona based thrash metal act Flotsam and Jetsam. The album was released through Metal Blade Records in July 1986. The band was formed in 1981 under the Paradox monicker, changed their name to Dredlox in 1982, then again in 1983 to Dogz, and finally in 1984 they changed their name to Flotsam and Jetsam. Flotsam and Jetsam initially received quite a bit of critical acclaim, but only ever achieved moderate commercial success. Outside their core audience they are probably mostly known because Jason Newsted played bass on this album before he joined Metallica...

...which of course is completely unfair, as what Flotsam and Jetsam offers the listener on "Doomsday for the Deceiver" is pretty kickass thrash metal with a lead vocalist in Eric A.K., who can actually sing, and who provides the music with a heavy metal/US power metal edge. Eric A.K. has a voice that sometimes reminds me of mid-range Rob Halford (Judas Priest) and a commanding delivery to boot. His piercing high pitched screams are also very convincing. Paired with strong songwriting which is relatively varied, and a sound production which is raw and powerful, yet detailed and clear enough for the listener to hear what´s going on, "Doomsday for the Deceiver" comes off quite a high quality debut album by Flotsam and Jetsam.

The original version of the album only featured 9 tracks, while the US CD version features the "Flotzilla" track as a 10th song on the tracklist. All quality material and it´s no wonder that "Doomsday for the Deceiver" is often mentioned in the same breath as other "classic" thrash metal albums from the 80s. I mentioned Eric A.K. above and praised his performance on the album and rightly so, but the rest of the band also deserve a mention. The rhythm section is tight and Newsted´s bass is placed deligthfully high in the mix. The two guitarists churn out one killer thrashy riff after another, but also some more heavy metal oriented ditto. The many blistering guitar solos and harmony leads also deserve a mention.

Upon conclusion "Doomsday for the Deceiver" is an original sounding US thrash metal release. I hear some nods toward early Metallica, Megadeth, and Judas Priest, but Flotsam and Jetsam have managed to forge a pretty unique and recognisable sound, which was no easy treat in those days, when the scene was overflowing with new thrash metal acts trying to make it big. The fact that this is a debut album, just makes the accomplishment even more impressive. A 4.5 star (90%) rating is well deserved.

Warthur It's a shame that Flotsam and Jetsam's debut album is known more as Jason Newsted's audition tape for Metallica than it is as an album in its own right, not least because I actually enjoy it much more than anything Newstad actually did in Metallica. (Some might cite Justice For All as a quality album from that period, but a) I don't particularly enjoy that one and b) you can't actually hear Jason Newstad on Justice For All). It's quality, speedy thrash metal which displays a technical flair which comes to fruition on the magnificent closing instrumental Flotzilla. What's not to love about that?

1967/ 1976 A PERSONAL VIEW ABOUT A PERFECT MASTERPIECE!!!!

"DOOMSDAY FOR THE DECEIVER" is only THE DEBUT ALBUM of the Speed Metal/ Thrash Metal act Flotsam And Jetsam... Of course!!!

What has become, then, a masterpiece of Thrash Metal... Hats off!!!

Understanding why "Doomsday For The Deceiver" has become a masterpiece of Thrash Metal (and the Speed ​​Metal) is not difficult to say. I love albums that express joy, magic, power, technique (even if only on paper), innovation and feeling. Apparently millions of crazy people have a similar vision (equal to or... Superior) to my vision, talking about music. So "Doomsday For The Deceiver" is a pure masterpiece of music!

Technically "Doomsday For The Deceiver" is an album rather technician. Not because the songs are technical (and the songs are really thechnical) but because the speed of the songs is very high! Potentially there is a lot of unconscious in this musical approach. But, in general, innovation is also this. Not that other bands have tried to make music as this, in those years. And all conquer my mind.

Magic... Feeling... There is in "Doomsday For The Deceiver" something creepy ... Slimy... No compromises! The mind is kidnapped... The heart bursts... A positive anger coming out of your body like steam and you want to share with nature, try everything! Since you can not get on the highway and push on the accelerator as if you were attempting a speed record... You become sad! Unlikely that your grandmother can understand you! However, if you were winning at Indianapolis, Le Mans or Monte Carlo... Uhh... I am satisfied to win the doorstep race, a rally (which everyone tells me to be really technical and difficult!)... Abstractly speaking "Doomsday For The Deceiver" is this!

The mountain is collapsing, the dam will not collapse and the spate of water... the uncrossed Death and desolation... Mud and tears! Today, mass tourism blocking the way and I must sound the horn to go with the car... Vajont is this, unfortunately. Stupidity of the people, the power of money! My mind processes this image as "Doomsday For The Deceiver" is there to make their way into my brain! And only at this point, I understand that reality is not fantasy!

What is striking, even today, is the freshness of the music proposed here. And, without rhetoric, will be the perfect alchemy that is in "Doomsday For The Deceiver" to make a difference in the ages to come! Because my mind always processes hot visions when the joy of music into my heart!

P.s.: Of course the cover makes you laugh... That monster... "Scooby Doo where are you?!?"

Vic This is one of the very few albums that can be cited as a classic speed metal album in the fullest sense. Speed is really one of the key attributes on this album.

More specifically, this is a speedy melodic thrash metal album. Calling it a Thrash/Power (US) album would also be quite accurate.

Back in the day, this album created a lot of stir. For starters, this album was the only album that received a 6K rating (out of 5) in the (then) very influential Kerrang! magazine. It was also the album that made Jason Newsted known to the metal audience before he joined Metallica. Another notable characteristic was Eric AK, the band's singer, who puts on a very impressive performance, especially with his high pitched screams, which he utilizes a lot, according to some, perhaps too much (not me!). But above all, it made quite an impression for its unique style and excellent songwriting.

What is really impressive about this album is the sheer ambition displayed by the group. This is highlighted by the two epics featured in the album, the self-titled track and Metalshock, clocking over 9 and 8 minutes respectively, which is quite impressive considering they are both speed metal numbers. Both songs showcase the band's strongest attributes: Excellent musicianship, brilliant songwriting and tons of character, greatly supported by the warm sound, courtesy of Metal Blade's prominent producer, Bill Metoyer. They also share structure. Both begin by beautiful acoustic intros that build up to a speed metal frenzy, a middle solo section and a climactic ending. Look out for the bass part in Metalshock by Jason Newsted, a groovy speedy riff that is joined and accentuated by the guitars to create a really memorable section.

Equally memorable are the opener Hammerhead (a speed thrash dynamite that immediately displays all classic Flots elements), Iron Tears (with the indulgence in Eric's screams in the intro!), the true thrash banger Der Fuhrer (perhaps the solo section in the intro could have been a seperate track) and the (once again) speedy narration of the Lizzy Borden story, where Eric AK steals the show, what an outro!

The CD version also contains the instrumental Flotzilla (originally released on a seperate EP on vinyl), which is a great collection of characteristically Flotsy(!) riffs that represents the green monster of the same name. Flotzilla is featured on the album cover crashing Satan, in a very Maiden-esque fashion. The instrumental and the two epics mentioned above also form a trilogy, beginning with the birth of Flotzilla (Metalshock) and the fight against the devil in the post-apocalyptic world depicted on the cover. Quite naive and deliciously absurd in the lyrics, Flotzilla is born because of power metal (in 1986 power metal in the US meant Ride the Lightning...) and the power chords raise the dead! Then the monster crashes satan and all is well. Amazingly, the absurdity of the lyrics is equally matched by the sheer speedy brilliance of the band's perfomance.

This album can also be considered Jason Newsted's highest moment. A real shame that he was so underused in Metallica. Newsted was the main songwriter on this album and he also co-wrote some of the best songs in the following album, No Place for Disgrace.

On a more personal note, Doomsday for the Deceiver is among my top metal albums ever.

A must-have for the fans of old school speed/thrash with an affection for US Melodic metal.