Onslaught | Origins Of Aggression | RPM

 

Onslaught formed in 1982 in Bristol, England, emerging from the punk underground before fully embracing the then-burgeoning thrash metal wave. The band’s early material, including the debut “Power From Hell” (1985), drew heavily from the raw speed and grit of hardcore punk, later evolving into more technical and aggressive thrash metal throughout the late '80s. Albums like “The Force” (1986) and “In Search Of Sanity” (1989) marked different stylistic turns while maintaining a fierce intensity. Following a long hiatus and reformation in the mid-2000s, Onslaught returned with a modernized yet faithful sound that retained their violent edge. Over the decades, the band has become a vital part of UK thrash history. Founding guitarist Nige Rockett has remained the band’s creative core, joined in the current era by vocalist Dave Garnett, drummer James Perry, guitarist Wayne Dorman, and bassist Jeff Williams.

“Origins Of Aggression” marks a 40-year reflection on the legacy of Onslaught, collecting re-recorded versions of the band’s foundational tracks on the first disc, and a diverse set of punk and metal covers on the second. This release does not aim for revisionism, nor does it attempt to chase contemporary trends. Rather, it commits to direct, unfiltered delivery.

Disc I draws material from the earliest releases, such as “Power From Hell” and “The Force,” re-tracked with modern production, tighter performances, and a heavier guitar tone. Songs like “Thermonuclear Devastation Of The Planet Earth,” “Let There Be Death,” and “Power From Hell” maintain their basic structures and intent but now sound weightier and more controlled. The vocal performance of Dave Garnett is more forceful and measured compared to the wild energy of the originals, which may divide longtime listeners but aligns with the band's current live presentation. The drumming from James Perry anchors the low-end with clarity and propulsion, while Rockett’s rhythm work adds mass without sacrificing pace.

The re-recordings do not try to reinterpret the past or reinvent compositional elements. Instead, they stabilize and reinforce the songs with present-day sonic precision. Tracks like “Black Horse Of Famine” and “Shellshock” benefit from a darker guitar tone and increased separation between instruments, particularly in the mid-tempo segments. The album closes its first half with “In Search Of Sanity,” which carries more weight in this modern context, offering a brief glimpse of the band's transitional late '80s phase.

Disc II explores the band’s roots through a collection of covers drawn from punk, hardcore, and traditional heavy metal. Onslaught approaches these songs with a mix of homage and intensity, without overstylizing them into thrash versions. The Motörhead classic “Iron Fist” retains its swagger and rawness, while the Dead Kennedys’ “Holiday In Cambodia” is delivered with rhythmic rigidity and a sharper vocal attack. The inclusion of multiple Discharge covers (“A Look At Tomorrow,” “State Violence State Control,” and “Drunk With Power”) reflects the band’s direct lineage from UK punk to thrash.

The version of Judas Priest’s “Freewheel Burning” stays closer to the original, retaining its melodic speed while injecting a heavier guitar tone. Killing Joke’s “Wardance” is given a mechanical stomp that suits Onslaught’s recent rhythmic approach, and Black Sabbath’s “War Pigs” is executed with a more straightforward pace, prioritizing heaviness over reinterpretation. The punk cuts—Sex Pistols, UK Subs, Exploited, GBH—are delivered without overcomplication, allowing the simplicity and bite of the originals to persist.

The production across both discs is consistent. The guitars sit high in the mix, the vocals are dry and forceful, and the drums retain a digital hardness that leans more toward modern metal than vintage analog warmth. There is little dynamic variation across the 22 tracks, but this also reflects the band’s stylistic consistency and their firm focus on raw impact rather than contrast.

As a retrospective statement, “Origins Of Aggression” documents the foundational layers of Onslaught with clarity and weight. The first disc presents a cohesive reimagining of early material, not to replace the originals, but to offer them through the lens of experience and modern equipment. The second disc provides a snapshot of what inspired the band before they found their own voice—from anarcho-punk to NWOBHM—and connects them to a wider musical rebellion.

Score: 7.5