Influenced by the extreme udnerground acts of the time, like, Possessed, Kreator, Celtic Frost, Slayer and Bathory, the band was formed in 1984 and released a demo tape entitled The Shining Pentagram in 1985. The group had, in essence, already existed as Ghostrider in 1984. The debut album was recorded in 1987 and issued by Nightmare Porductions of Portugal. This would be re-issued by the band’s later label, Scarelet Records. A second album was issued in 1989, but the band went the way of the fascism in 1990 when Marco Pesenti joined Necrosadist/Sadist. Peso and Claudio were back eight year later, however, and issuing albums on Scarlet Records. Mater Of All Evil was recorded at Underground Studio in Sweden and featured new singer Flegias. The band played at Gods Of Metal Festival. 2005 presented 20 Years Of Noise 1985-2005 compilation and 2006 meant a new album. 100% Hell featured Venom’s Cronos as a guest. The band toured with Marduk. Draculea was a cocnept album about Vlad The Impaler.
In September of 2008, Necrodeath made guitarist Pier Gonella a permanent member. Simultaneously, bassist John left Necrodeath for the standard “personal reasons.” 2010’s Old Skull, which was issued through Undying, was a covers’ album that also included a new version of the song Mater Tenebrarum. In late 2011, Necrodeath released a new album, Idiosyncrasy, in October through Scarlet Records. The band had a trailer For The 7 Deadly Sins album, which featured Italian Porn Star Mila Ramos.
NECRODEATH - 100% HELL - SCARLET
100% Hell begins with an intro called February 5th, 1984, which could either be the day Necrodeath originally was founded or the day the band’s favourite Venom album was issued (or Kreator or Destruction were founded...). It makes sense either way for the intro is spoken by Venom’s frontman Cronos and the Italians exemplify true thrash metal loyalty in the vein of the aforementioned German pioneers.
The album proper begins with Forever Slaves, which is an explicit declaration that song, album and band are holding the line for authentic thrashing punishment. The band’s influences are obvious and blatant - just listen for Ventor’s vintage drum rolls coming back to life throughout the album - but Necrodeath has enough variety, history and personality to deliver a powerful album that can stand on its own two horns. Forever Slaves is about thrashing punishment with Flegias’ raspy and screechy vocals. Fans of Sacrifice or Melechesh would be pleased. Master Of Morphine begins with an acoustic piece, tasteful lead, whispered singing and on to a soaring swing of the band’s metallic sledgehammer. The Wave is fast and faster, yet has a memorable riff and more melody. Theoretical And Artificial continues the break-neck pace and the pattern of complex drumming by main man Peso. Identity Crisis is appropriately christened. As the album’s weakest song, the track inexplicably begins with a French moaner bemoaning something in her native tongue. The song’s inexcusable use of keyboards and drenching synthesized swish lose the band and album points. “Beautiful-Brutal” World is just that with its melodic lead amidst the brutality. An interlude called Hyperbole leads to the 9-minute long title track which features a complex arrangement and vocal patterns. The chants fit right in.
The band has delivered a great album that positions Necrodeath, alongside Dew-Scented, as the underdogs of thrash metal. It is simply amusing that guys who are also active in drivel like Opera IX can produce music this good. Much younger bands can learn a thing or two from Necrodeath instead of focusing on the latest musical, lyrical and haircut trends. Thrash metal lovers will 100% want this album. - Ali “The Metallian”