One of the most frequent complaints among metal fans is how so many legendary bands from the '80s have returned only to modernize and sterilize their sound, resulting in a wave of albums and groups that all sound eerily similar. Many of the bands or records hailed as a “return of thrash” sadly lack the spirit that defined that golden era. While there are some exceptions—albums like The Final Sign of Evil by Sodom or bands like Baphomet’s Blood and Apokalyptic Raids who sound like they time-traveled from the '80s—those sparks are few and far between. But in August 2009, that flame was reignited with blazing force. Canada, one of the most unique breeding grounds for Thrash Metal, saw one of its pioneering forces, Sacrifice, rise once again with their fifth album The Ones I Condemn, firmly declaring: “We’re here to keep the fire burning!”
Tracklist:
We Will Prevail
The Ones I Condemn
Give Me Justice
The Great Wall
Tetragrammaton
Atrocity
Hiroshima
The Devil’s Martyr
Ultimate Power Corrupts
Desolation Alive
This album reunites the band’s classic lineup: Rob Urbinati on vocals and guitar, Scott Watts on bass, Joe Rico on lead guitar, and Gus Pynn on drums. “The Devil’s Martyr” features guest vocals from Dave Hewson and guest guitars from Jed Simon. The album was recorded at Rouge Valley Studios in Toronto and released through Brazil’s Marquee Records, a label known for working with bands like Sodömizer, Iron Angel, Agent Steel, Atrophy, and Apokalyptic Raids. The production is crisp and clean—each instrument is distinctly audible, with the bass particularly prominent. It’s a high-quality mix, somewhat comparable to the polished sound of Atrocity Exhibition by Exodus.
With the exception of “Tetragrammaton,” the album is packed with dynamic, driving tracks. The drums, guitars, bass, and vocals charge forward with relentless energy. The chemistry between Urbinati and Watts is stellar, while Pynn and Rico feed off each other without letting the tempo drop for a moment. It’s a tightly knit unit. One notable change is Urbinati’s vocal approach—it leans more into a hardcore-ish style. Because of the clean production and modern edge, the sound may appear close to thrashcore at times, but make no mistake: the rhythms are pure ‘80s thrash through and through.
The opening track, “We Will Prevail,” starts with a pounding drum and bass combo, followed by a melodic guitar riff at a slow pace—then Urbinati’s sudden vocal entrance shifts the energy, setting the tone for the rest of the record. What follows, “The Ones I Condemn,” is one of the most ferocious songs on the album. It’s uncompromising, with vocals screaming “we never died!” while the guitars slash with vengeance. “The Great Wall” begins at a slower tempo, then blasts into classic speedy thrash. There's even a section before the solo with syncopated drums that’s just masterfully executed. “Tetragrammaton” is slower and features some truly filthy vocals. “Atrocity” and “Hiroshima” are instantly recognizable as head-smashing anthems, and the lyrical content they tackle is worth deeper attention.
Overall, this is a very ‘80s-flavored album, loaded with riffs that feel like they came straight from that era. Of course, it would be unrealistic to expect the same raw, crusty sound from Sacrifice that they had 24 years ago, but in the context of today’s thrash scene, this record is an important one. Technically proficient, fast guitars, pounding drums, a powerful low-end—it’s a demolition machine. You won’t walk away from a concert in one piece after these songs. The only criticism I’d raise is Urbinati’s vocal style. Personally, I’m not a fan of vocals that lean toward a metalcore tone, and unfortunately, many vocalists seem to have adopted that shift nowadays. At this point, it feels like only our dear Tom (Angelripper) still screams from the heart and gut with pure rage.