Slammer: Nigthmare Scenario-1991.

Slammer was an English thrash metal from Bradford that was founded in 1987 and was disbanded in 1991 after the last album was released.

The band was formed in 1987. In 1989 the first EP called Born for War followed on WEA Records . After the release followed appearances with Onslaught , Acid Reign , Xentrix , Toranaga and Celtic Frost . This was followed by the release of the debut album The Work of Idle Hands… . The band later separated from their label and signed a contract with Heavy Metal Records . In the year the EP Insanity Addicts followed on the label. In 1991 the second album Nightmare Scenario followed . [1]


The Work of Idle Hands…Full-length1989
Born for WarEP1989 
Insanity AddictsEP1990
Nightmare ScenarioFull-length1991
Andy Gagic
Drums (1987-1992)
Enzo Annecchini
Guitars (1987-1992)
Milo Zivanovic
Guitars (1987-1992)
(R.I.P. 2020) See also: ex-Hybrid
Paul Tunnicliffe
Vocals (1987-1992)
Stuart Morrow
Bass (1990-1992)
Dean WilsonBass (1987-1988)
See also: ex-Excalibur
Russell BurtonBass (1988-1990)
See also: ex-Deadline
1.What’s Your Pleasure?04:57 
3.In the Name of God03:40 
4.Just Another Massacre03:50 
5.Architect of Pain04:48 
6.Every Breath06:32 
7.I Know Who I Am04:06 
9.Think for Yourself03:16 

One thought on “Slammer: Nigthmare Scenario-1991.

  1. bayern, September 1st, 2018

    Although British thrash had its strong, distinct physiognomy (Sabbat, Deathwish, Onslaught, Satan/Pariah) during the late-80’s, there were other practitioners from over there who steadily refused to accept anything but the models provided from the other side of the Atlantic as examples to follow…

    in other words, the Bay-Area preachers were heard and their deeds propagated far’n wide on the Isles and beyond thanks to our friends here, but also Xentrix, Toranaga, D.A.M., Acid Reign and later Detritus, not to mention the unmitigated betrayal committed by none other than Onslaught (“In Search of Sanity”) as a farewell (at the time) gesture. Although Xentrix were universally considered the finest exponents of the Bay-Area school in the UK, and also in the whole of Europe (Vendetta, anyone?) at the time, the band under scrutiny here shouldn’t be left buried in the underground as they did manage to produce a few worthy tributes to said movement, more simplistic and derivative on the debut, and more intriguing and more cleverly-constructed on the album reviewed here.

    The blueprint for this more convincing showing was already provided on the “Insanity Addicts” EP with four tracks built around the complicated vistas of late-80’s Metallica, Heathen and Testament, the cool expressive James Hetfield-esque vocals another beneficial ingredient. All those are brought intact and dispersed throughout here the non-rushed mid-paced layout of “What’s Your Pleasure?” and “Greed” tolerating a few more dynamic escapades, the delivery strictly focused on the technical side of the spectre. Bigger, more violent waves are inevitably made (the short more concrete headbangers “In the Name of God” and “Just Another Massacre”), but the intricate configurations remain for those briefer outbursts, too, reaching some kind of a culmination on the excellent “Architect of Pain” which even tries something outside the Bay-Area box with a few show-offy twisted walkabouts. The increased complexity is nicely reflected later on the longer material (“Every Breath”, “Corruption”) its more ambitious veneer consistently chased by short stylish shredders (“Think for Yourself”) the latter winning the tussle in the end due to their more openly aggressive character.

    As an exercise in style this opus will always have its advocates as the clinical precise riffage is awe-inspiring at times, by no means a work of idle hands for sure, but in terms of memorable song-writing the band can’t hold a candle to their compatriots Xentrix; and this is probably where the main difference lies between the two formations, juxtaposed as the two major examples of said current in the UK, the one here more conscious of displaying their abilities to the fullest, the other caring first and foremost about how much of their repertoire will stick in the fans’ memory. This is the reason why most of the material on “For Whose Advantage?”, chosen here as Xentrix’s widely acknowledged magnum opus, will stay in the mind after just one listen while the effort here will fascinate as one dexterously-performed whole without giving the listener too many chances to distinguish one piece from another.

    Certainly, after spending hours, and probably days, with it separating the various nuances and compositions won’t be a problem at all for the devoted fan, and I have to admit I did feel compelled to go back to it more than just now and then back in the day… it’s just that what I could recall a few years down the line, not having touched it for ages, was the stylish intricate riffs, the cool semi-passionate vocals, the “fast, more immediate/less dynamic, more complex” song alternation… but not much else, truth be told, no individual numbers or particular motifs whatsoever. Not that this is a defect that should be ascribed to the album here, no; it quite possibly could be the inability on the side of the listener to fully concentrate.

    Besides, writing a review on it greatly helps in remembering it with all its gory details; but it’s also detrimental to an extent as now I find it hard to view it as a mere exercise in style anymore, like I have earlier, which is sometimes the more preferable option. Who needs to remember vocal tirades, choruses, melodic hooks, balladic digressions and all that other shite… give us bedazzling virtuoso shredding, noodling, doodling and all kinds of …oodling extrapolations to make us spinning in spirals from here to eternity… a scenario that was quite possible in the band’s camp if this “nightmarish” affair to remember here was granted a follow-up. No idle hands involved on any level… for sure.


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