PROTECTOR - Golem LP
Martin Missy - Vocals
Hansi Müller - Guitars
Ede Belichmeier - Bass
Michael Hasse (R.I.P. 1994) - Drums
-Delirium Tremens
-Apocalyptic Revelations
-Golem
-Germanophobe
-Protector of Death
-Operation Plaga Extrema
-Megalomania
-Only the Strong Survive
-Omnipresent
-Space Cake
1st-4th pressing: SOLD OUT!
5th pressing: AVAILABLE
mastered for vinyl by Patrick W. Engel/ Temple of Disharmony
“Golem” was the first full-length release by Protector, a savage masterpiece from one of the most underrated but nevertheless most important and influential thrash/death outfits from the 80s. The four-piece from Lower Saxony had been playing together since 1986, and with one official release up their sleeves the band now consisted of Hansi Müller (git), Michael Hasse (drums), Ede Belichmeier (bass) and Martin Missy on vocals, thus the same crew who had already hammered in the debut-EP “Misanthropy” from 1987. “Golem” is the first of two full-length releases from the first incarnation of Protector featuring vocalist Martin Missy. His absolutely vile vocal performance which always borders on early, evil, murky death metal is one reason why “Golem” is widely regarded as a landmark in the history of extreme metal, especially that of death/thrash.
Among the wave of Germanic thrash flooding the scene back then, Protector have always stood out due to their exceptional songwriting-skills including daring tempo changes and top-of-the-line musicianship. Full to the brim with high speed killer riffs and leaning heavily towards early death, “Golem” is easily on par with other German thrash metal milestones such as “Pleasure to Kill” or “Infernal Overkill”. Although Protector’s fame may not entirely match that of compatriots like Kreator, Sodom or Destruction, they were most important for the early death/thrash scene, taking things to another level: Protector were more brutal, heavier and more extreme than the above mentioned bands – a bit ahead of their time maybe? Reactions in the media were overall positive but nevertheless pointing out, that this stuff was “only for the hardboiled!” Martin Missy recalls how press and fans reacted to the release: “It was almost the same as with our previous recordings: We got a lot of positive response from the fans and the underground-magazines. The bigger magazines were a little more sceptical about our music, but they still gave us somewhat better reviews than for Misanthropy.”
Protector recorded their first full-length release in the summer of 1988 in the Phönix Studio in Bochum, Germany – a time still infused with very iconic memories for Martin Missy: “For the recordings we had moved into an apartment right above the studio. I remember that one day we were sitting in the living room, with the windows open, and we were listening to the bands that played at the Monsters of Rock at the Ruhrstadion in Bochum.” Writing and recording the album worked pretty much the same way as it had done the year before: “Hansi, Michael and Ede put together the songs, and I wrote the lyrics afterwards. I also made a small contribution to the songwriting-process: I suggested that Michael should use the floor-tom instead of the hi-hat in the Song ‘Golem’. I got that idea from the Agnostic Front song ‘Power’”. With a bit more experience under their belts, Protector could apply what they had learned while making their demos and the EP: The song structures on “Golem” are more complex, and the sound is cleaner than on “Misanthropy”. Apart from the Protector crew, there was someone else from the history books of thrash metal involved in recording the album: The last song, the short but sweet thrash outburst “Spacecake”, comes with guest vocals from Sodom’s very own Tom Angelripper.
As mentioned above, the press seemed to be a bit overwhelmed by the speed and fierceness of “Golem”, but still, this album helped a lot to make the name Protector even better known in the underground scene of the 80s. Missy defines the status of his own band more accurately: “With ‘Golem’ I would say we were able to establish ourselves among the top-20 of German thrash bands.”
The re-release of “Golem” comes without any alterations and no extra frills – just pure death/thrash that was ahead of its time in 1988 and will still you blow you away in 2015. Be sure to get your copy, and prepare properly for the next Protector show: “The title-song of the album became one of our most popular songs among our fans. We still play it live at every gig!”
Ulrike Schmitz
As the first riff comes in you understand exactly what you are listening too, and that is a Modernized German Thrash with Death elements, quite simply and nothing more (but really could you want anything else, as I really dont). In the very least, this is well played, tight as fuck, skull pounding, killer metal with a less than ultra clear production, and a sound reminiscent of better Metal times.
Also one must give praise to the cover, cause its pretty god damn cool in its originality. Not the greatest, but fucking cool.
The harmonies, solos, riffs, runs, what ever, you name it. Its all here and played to a masterfull degree. Protector, straight out surpass many other thrash bands for their songs, which are very well written, well structured, and head banging marathons of brilliance, albeit not the most melodic (but alot of great German thrash isnt). I'd also recommend whiping a few back before throwing this on, as it enhances ones experience, for you know I have. There are many different tempos, and style changes on here (guitar wise) that just stand out, and define the bad as classic thrash metal gods. Also the guitar tone is a great aspect of this band which would at the very least add to their unique sound.
Most vocals are in a deeper, not quite death metal, like german voice of hate, but fit the music nicely due to the well arranged patterns/lyrics. Fairly original, its definitely fitting for the sound, and offers me nothing to dislike even if there is a highly standard format to the style of delivery.
While not very well known out side of true fans to the genre, those that are familiar will tell you just how killer this band was at this time period, as inaddition to their carreer (seeing this shit live must have been truelly something else). Also of note, this record has had its influence on many, and even if not largely received as such it still has a rightfull place.
If you are a fan of old school Thrash, Death, and Speed Metal in its pure sound than you will inevitably enjoy this release, for it holds true to its genre more than most will ever hope to achieve (which is something that must be appreciated). Fuck off to all contenders this is the way it should be.
Hail German Metal!!!
Protector was one of the heaviest bands from Germany during the 80's. Their early recordings were among the most extreme in the 80's thrash scene, and often leaned a bit toward death metal. After releasing the Misanthropy EP in 1987, a year later Protector released their official debut, which remains one of the most intense thrash metal albums. It also contains many elements of the future death metal scene that was to rise in the future. 1988 was the year in which thrash metal reached its most extreme tempos, with albums like Serpent Temptation from Incubus, Illusions from Sadus, Malleus Maleficarum from Pestilence, and Golem from Protector surpassing virtually everything thrash had done in the years prior in terms of speed and aggression, each one with a certain proto-death metal touch. In addition several other bands such as Vio-Lence, Razor, Bulldozer, Legion of Death, and Dorsal Atlântica released extremely fast thrash metal albums, make the brutal year of 1988 unsurpassed in terms of brutality for thrash, and my favorite year in music. All of these albums were also executed with a decent level of musicianship. Golem In particular was a very heavy album for that year and remains a masterpiece of extreme proto-death/thrash, and also one of my favorite thrash metal albums.
The music on Golem is not too dissimilar from the music on the Misanthropy, although just a bit slower and heavier. Protector at this point had a proto death/thrash sound that can remind one of early Kreator, but the vocals are much deeper and more brutal. In fact the vocalist sounds a lot more deathly than most in the teutonic scene in 1988. There is no doubt this band while unsung, must have influenced quite a few death metal bands in the 90's and now in Europe. The first track off Golem starts off with extreme speed. Delirium Tremens crushes the listener with a wall of deathly thrash nearly twice the speed of Darkness Descends era Dark Angel. In addition crushing slow sections compliment the fast ones, adding more dimension to the music. They would perfect this slower style on the title track which could be considered proto-death/doom.
It is on the faster sections which the band shines. Tracks Protector of Death, Operation Plaga Extremea, Megalomania were among the fastest and most brutal in the brutal in the entire teutonic scene, and well as some of the heaviest thrash ever made in the 80's. There is even some semi-technical riffage on the track "Only The Strong Survive". Protector had a very brutal approach to thrash metal, but it was done with style.
Later efforts by the band (with the exception of the 1993 masterpiece The Heritage ) saw them only trying to perfect the formula of this album, which is why I personally consider this the best of Protectors early material. and only on few occasions did protector match the speed of this album again. Urm the Mad, while still a good album expanded even more on the slower sections of golem, and was not quite as explosive. A Shedding of Skin was in many ways just a refined version of the music on Golem, and so you can see why this album is so important. This is classic Protector at their best. Golem is a true classic of the 80's s scene and Protector deserves a lot more credit for their contributions to thrash, and they're later influence on European death metal. Really, All of Protector's albums have good qualities about them. Its a shame one of Germany's best bands is also one of they're least known.