Welcome to another edition of From My Collection. Perhaps it’s because I just attended a fest featuring the likes of Warbringer, Void, and High Command, but lately I’ve found myself thrashing harder than usual. These past few days, I’ve dug through my record collection to revisit some thrash staples I haven’t spun in a while, one such album being Forbidden’s debut, Forbidden Evil. Upon my first in-depth listen in at least a year or two, I thought to myself, “Man, this thing goes ridiculously hard.” In an era where thrash was becoming more formulaic and streamlined, Forbidden stood apart from the pack with their own signature sound, a sonic attack entrenched in lunacy and chaos. Sit back and do anything BUT relax! Today we revisit Forbidden Evil.
Forbidden was formed by guitarist Craig Locicero in 1985 under the moniker Forbidden Evil. Joining Locicero in this early incarnation were bassist John Tegio, drummer James Pittman, guitarist Robb Flynn (prior to joining Vio-Lence), and frontman Russ Anderson. Together, the five capitalized on the Bay Area thrash boom, leading the movement’s second wave alongside bands like Death Angel and Legacy (soon to be renamed Testament). A string of demos were circulated between ’85 and ’87, only for Forbidden Evil to axe the “Evil” part of their moniker, so not to be confused for a black metal band.
With the name change came a lineup change as well. Only Anderson and Locicero stuck around from the band’s demo lineup. They were soon joined by guitarist Glen Alvelais, bassist Matt Camacho, and drummer Paul Bostaph. Having taken notice of their demos, Combat Records quickly signed Forbidden and sent them to the studio, where they’d record their debut full length, Forbidden Evil. Wait, didn’t they want to get away from the black metal shenanigans? Or perhaps this was their way of signaling to their fanbase, “New name, same thrash!”? Whatever the case may be, Forbidden Evil hit record store shelves in September of 1988, and quickly became regarded as a certified Bay Area banger.
Instead of wasting the listener’s time with a “calm before the storm” acoustic intro or horror synth soundscape, Forbidden Evil breaks right into hardcore thrashing with the blistering “Chalice of Blood”. Whereas many extreme metal acts of the era were attacking organized religion from a fantastical or satanic perspective, Forbidden does so on “Chalice of Blood” with a scathing takedown of the hypocrisy and corruption that was running rampant amongst Christian churches of the era, and still does to this day. For context, remember: This was an era in which Jimmy Swaggart stoked the fires of the satanic panic in one breath, only to be caught in bed with hookers (multiple times) the next.
“Off the Edge” keeps the intensity going, this time with a grim tale of drug use gone awry. While many acts of the era glorified substance abuse, or at the very least were indifferent to it, “Off the Edge” almost plays like a Nancy Reagan-esque “Just say no!” PSA, set to a mosh-thrash soundtrack. I’m curious if this song was pure fantasy or based off horrific real life experiences, as I’ve heard far too many stories similar to the one in this song. For those unaware, “Off the Edge” chronicles the lives of burnout kids under the influence of acid who don’t go “Off the Edge” figuratively speaking, but literally, off the edge of a cliff. Talk about literal death metal!
While “Chalice of Blood” and “Off the Edge” respectively are rather straightforward thrash numbers for the era, the 6+ minute “Through Eyes of Glass” boasts a more progressive slant to the songwriting with increased technicality thrown in. For those unaware of the band prior to this release (as most likely were), “Glass” is the first foreshadowing of the tech-thrash direction Forbidden would explore on their sophomore album, Twisted into Form (1990). As hypnotic as the riffs and rhythms are the melodramatic vocals of Anderson, the likes of which hadn’t been heard on a thrash record since Metal Church’s David Wayne. More than just a “thrash shouter”, Anderson came from the old school ilk of Halford and Gillan, and it shows all over this album, especially on “Glass”.
Side A closes with Forbidden’s old anthem, “Forbidden Evil”. Although Forbidden are synonymous with thrash’s second wave, there are enough trad metal tropes on “Forbidden Evil” that recall the genre’s first wave, albeit emboldened by a second wave production value. This makes sense as the song first appeared on their ’85 rehearsal demo, explaining the NWOBHM gallop riffs on steroids and ear-piercing screams and bombastic melodies of Anderson. It’s a crushing album side closer, rife with fury, finesse, and one of the most epic intros and outros ever laid down on a thrash album.
As we flip over to side B, we’re greeted by the hyper-spasmodic speed blitz of “March into Fire”. Maybe it’s just me, but there’s something about the blindingly fast drumming and execution of the riffs that reminds me of an Americanized Kreator, especially when you consider the direction the Teutonic titans were headed on 1987’s Terrible Certainty. It’s fast, furious, and full steam ahead thrashing, bringing on the brutality, yet without ever veering into first wave death or black metal territory. That said, I could easily hear a death/thrash or black/thrash nostalgia act tackling “March into Fire” as a cover.
“Feel No Pain” can be filed alongside “Off the Edge” in the midtempo mosh-thrash category. As far as tempo is concerned, it’s a fitting palette cleanse to follow “March Into Fire”, yet without ever sacrificing the powerful punch that dominates this entire album. Anderson’s vocals match the toughness of the riffs, the frontman bursting at the seams with one forceful command after the next. If nothing else, Anderson was certainly one of the most dynamic thrash singers of his day, eager to balance dark beauty and ungodly brutality, sometimes within the same song.
“As Good as Dead” doubles down upon the crippling insanity that dominates the entire affair, its fancy guitarwork, rapid tempo changes, and deranged lyricism again foreshadowing the direction that’d be explored on Twisted into Form. Rounding it all out is a 7+ minute prog-thrash suite, “Follow Me”. On this song, Forbidden take the epic leanings of “Forbidden Evil” even further, going so far to incorporate acoustic guitars, classical modes, demonic growls, operatic bellows, punishing speed, and gnarly mosh breakdowns, all in one song. You’ve heard of a rock opera? This is a thrash opera!
Although Forbidden Evil didn’t reach the commercial heights of fellow second wave thrashers Testament and Death Angel, the album did cement Forbidden as a force to be reckoned with in the ever-expanding underground. The equally celebrated Twisted into Form followed in ’90, and the band defied the odds, weathering the storm of grunge until their eventual split in 1997. A late ’00s reunion followed, before the band split again in 2012. Today, spearheaded by Locicero and Camacho, Forbidden continues to tour the world, and has done so since 2023. Allegedly a new album lurks in the wings, but until then, we will thrash, bash, and crash to the ever insane and ever relevant stylings of Forbidden Evil. “Off the Edge” we go!