C I A In the Red

C. I. A. 'In the Red' (Combat, 1990)

Another US return or promo purchased from the Lady Lawson Street branch of Avalanche. This was often the most common Avalanche for me to visit due to its proximity to Mach skate shop. It also seemed to be the branch that had the best second hand hardcore section, which was maybe because the skaters would swap their SNFU records for cash to buy much needed bearings or similar.

The guy who was often behind the counter was quite a sarcy guy from memory, but he must have been more into metal than the guys in other shops because he always seemed to have a more eclectic selection of the hard stuff. It's strange that I've always been into things where interaction with the purveyors of the goods I require has been awkward. Skate shops were notoriously snobby and record shops could be equally sneering, particularly when you were 14. They still make me uncomfortable; even today some record shop owners are plain bizarre in their desire to put you off buying anything and skate shops are, well, skate shops!

In 1989 Glenn Evans, drummer with New York thrash kings Nuclear Assault, decided to get off the stool and step into the limelight with his solo project C. I. A. He tackles all instruments and vocals although he does get help from the members of his main breadwinner. Combat obviously decided to release this as Nuclear Assault's star was still in the ascendance and no doubt they made a few bucks from curious thrash fans like me.

Opener 'Extinction' is a great example of crossover sounding like Carnivore meets Exodus with John Connolly's inimitable yelp obvious in the chorus. The title track is heavily influenced by Nuclear Assault with a 'Stranded in Hell' feel at the beginning and the trademark thundering bass Danny Lilker so expertly deployed. The main riff in 'N.A.S.A' is very reminiscent of Nuclear Assault's 'Justice' and the chorus/bass breakdown/mosh part also sound like they've been found on the Assault's cutting room floor.

Quite quickly you begin to wonder why Glenn bothered with this vanity project as he does little to display anything he didn't achieve with aplomb when doing his day job.

When the songs don't remind of Nuclear Assault they veer towards dire; 'Samantha', for example, is an awful Guns n' Roses pastiche and the rest is middle of the road uninspired thrash fodder.

The nadir is the vocal performance which only serves to highlight the execrable lyrics dealing very ineloquently with typical thrash topics such as pollution, unnatural disasters and being buried alive!

For the curious and completists only.

Peace