When talking about the Canadian thrash scene of
the 80s, the same few names usually appear first. Voivod,
Razor, Sacrifice.
But D.B.C. (Dead
Brain Cells) were one of those hidden underground acts that gave the
scene its raw, unfiltered power. Formed in Montreal in 1986, the band quickly
went from local noise-makers to releasing their debut through Combat Records, the legendary New York label known
for launching acts like Possessed and Nuclear Assault. It was a fast rise for a young band,
and the result was “Dead Brain Cells”, a furious, crossover-tinged thrash
attack that captured the spirit of a time when speed and aggression mattered
more than precision or fame.
There’s a
tightness to the performances that might surprise anyone expecting sloppy
crossover punk. Songs like “Public Suicide” and “Negative Reinforcement” are
prime examples of late-80s thrash intensity, balancing speed and aggression
without losing their raw nerve. It’s not sophisticated thrash. It’s the sound
of a young band striking hard and fast before the movement got crowded with
technicality. This is the kind of album that belongs in the conversation
whenever people talk about underrated Canadian classics. “Dead Brain Cells”
remains a raw, violent and energizing example of Canadian thrash history. Not
perfect, but absolutely vital for understanding the underground fire that
burned in 1987.
Score: 8.0
By 1989, D.B.C. had
gone through a transformation. Still under the Combat
Records banner, the band returned with “Universe”, an album that traded
some of their debut’s street-level fury for something more ambitious. Produced
by Garth Richardson, known for working with Alice Cooper and Rage
Against The Machine, this album took the band into more intricate and
exploratory territory without abandoning their thrash roots.
“Universe”
is where D.B.C. started to look beyond the
mosh pit. The riffs twist and expand, sometimes recalling the alien patterns of
Voivod or the mechanical tension of Coroner. Instead of simple aggression, the songs
unfold like science-fiction chapters, with cosmic themes and longer
instrumental passages. It’s the sound of a band pushing their own limits,
adding imagination to their aggression.
“Universe”
didn’t make waves when it came out, probably because it appeared just as the
thrash wave was starting to decline, but time has treated it kindly. Today, it
sounds inventive, forward-thinking, and full of personality. Hammerheart’s reissue lets a new audience hear how
D.B.C. were quietly creating their own path,
far from the big names of the scene. “Universe” is a daring, fascinating step
forward from D.B.C., an album that stands as
one of the most intriguing Canadian metal releases of the late 80s. It shows
how thrash could evolve without losing its soul.
Score: 8.5
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