Years Of Decay: 1985

21 min read

Being nostalgic, even sometimes more than needed, our small team returned into 1985 in order to present some of our most beloved records from that year. 

1985 is among the most precious years of metal, just in the middle of the most-decade of metal, when our music was going under a huge transformation. The metalheads were going nuts, the live shows were a real blast, and the future had been still golden and about to shape.

Some of the most important records in metal history have been released in 1985. We picked a tiny part, a part which had been mostly underground back then in 1985. A tiny part which left enormous trace though. A heritage which the next generations deserve to have in their hands…

So, enjoy the bloody good music and the glorious YEARS OF DECAY!

ARMORED SAINT – “Delirious Nomad,” Chrysalis Records

Confession: I am an Armored Saint nut! And even though I had a copy of 1984’s ‘March of the Saint’ debut, it was 85’s ‘Delirious Nomad’ that sold me up the river completely. I have been sailing up that river ever since. The mighty Saint are still going strong and despite numerous set-backs and lack of activity over the last 30 years, I along with many others have been of the opinion that here is a band that never really got the respect it was due. All the more reason to select ‘Delirious Nomad’ as my 1985 Years of Decay choice. Of their entire catalogue, strangely enough in my opinion, this is their most more

Armored Saint in 1985 were (and still are) an authentic straight US Classic Metal Band. Lumped in with the likes that they toured with many times – Judas Priest, Savatage, Aerosmith, Whitesnake, Ted Nugent, Alice Cooper, Saxon, W.A.S.P., Dio, Accept, Fates Warning, Y&T, Grim Reaper, Malice etc – Armored Saint are all about gritty mid-tempo riff oriented songs, wicked leads and catchy choruses. They also happen to have one of the finest (and greatest in my view) metal vocalists ever as their frontman – Mr. John Bush!

Delirious Nomad stands out for me because of the heavier, darker edge that permeates the entire feel of the record. Written during the height of nuclear paranoia between East and West, there is a sinister, pessimistic vibe about the songs titles – Aftermath, Nervous Man, In the Hole, Over the Edge and Conqueror all point to a band concerned about the state of the world address at the time. Backed by Bush’s muscular and impassioned vocal delivery and a smart hard hitting Max Norman (genius choice) production, DN is a very unique Classic Metal record – devoid of clichés and diverse in song structure and ideas – the whole thing just works. Again, the brilliance of Bush’s register allows their compositions to convey a multitude of different moods – whether it be his stellar emotive phrasing on the utterly brilliant semi-ballad ‘Aftermath’ or the forceful projection of his opening lines on ‘Long before I Die,’ the man has no boundaries.

The other reason why ND is so diverse and chock full of ideas is that the entire band wrote music for the album. However, I must make mention of the killer guitar work of David Pritchard (RIP) on this album as he was left to shoulder the burden after the departure of founding member Phil Sandoval during the recording of the album. Dave had a personal hand in writing 5 of the 10 tracks laid down on Nomad and clearly had to record riff and lead work for the others. Obviously we heard the last of Pritchard’s work on 91’s ‘Symbol of Salvation’ album, but wow, Nomad only confirms the talent that he was at the time.

Delirious Nomad is one of those special albums in my collection – OP Vinyl and all. There is just something about it that brings a smile to my face. It is timeless. The songs are fantastic and it never gets old. Deserving of so much more exposure and respect it is criminal. For me, a masterpiece.

Released: October 30th 1985

Recorded: Can-Am Studios, Los Angeles, California
Producer: Max Norman


John Bush – vocals
Dave Prichard – guitars
Joey Vera – bass, backing vocals
Gonzo Sandoval – drums

Additional Musician
Phil Sandoval – guitars on “Over the Edge” and “Aftermath”

Favorite tracks: Aftermath, Long Before I Die, Nervous Man, Your Never Alone, The Laugh


AMEBIX – “Arise”

On September 14th, 1985, a monumental full-length album (Amebix-Arise!) would be released unto to the world which would change and influence many bands to come. Having formed in the U.K. in 1979, this band had the attitude of punk but musically had projected a gritty metal sound and style unlike most of their peers. read more

The Amebix were definitive innovators which would aid in the description of a music style that is known as crust. After a few earlier EP 7” s, the album Arise being their first full-length, would then be released on Alternative Tentacles (Virus 46) from the USA as a 12” LP. Not originally hearing this band or being aware of them in their earlier beginnings, it would not be until sometime later that I would actually be introduced. Being in a time before the internet with only snail mail and counting on your local records shops to get in the latest imports, you never knew what would arrive or when something would be available. However, the album Arise would be the first thing I would hear from the Amebix before any of their other releases. I would then come to realize the greatness and impact this album had as well as its varieties or even differences that it combined. Unlike the various crossover or thrash bands like D.R.I. or Cryptic Slaughter for example, that I was already familiar with, the Amebix besides their style of old thrash and metallic hardcore elements had also implied a subtle keyboard use with acoustic segments at times as well. This would set them apart and add to their darkened atmosphere along with the use of growly vocals that were quite different and unique than most bands that I had heard previously. Not to mention lyrically, I felt they were more in depth and perhaps carried a more mature sense of idealism or perspectives than most at the time. I believe the album Amebix – Arise with its sound, style and combinations would have an effect and influence in the future of other genres to derive from.



S.O.D. – “Speak English or Die”, Megaforce Records

Well, I didn’t get this album when it was released, I was just a small kid at that time and I never thought that I would start to listen Crossover or Metal. I got this LP in one second hand place which existed in Lisbon around 95 or 96. The time that me and my Metal friends, together we were going to buy records. Every first weekend to the big town with a small list in our hands. read more

In one of those times, I found this LP and to be honest I only bought it because it had Anthrax and ex-Anthrax members on it. I didn’t know the band. LOL.

And when I arrived home… Vinyl on the player. EhEh.

“This is amazing, this is very good” I remember saying that. EhEh. 

And it is. Very good, at least for me. I heard it many many times. 

For me this album it’s a cult release. I like the humor they use, the riffs, the songs, the format I have (LP). Well… It’s not a classic, for me it’s a relic. What can I say more???? Nothing… Just listen this over and over.


The Key Keeper

ALCATRAZZ – “Disturbing the Peace”, Capitol Records

ALCATRAZZ recorded three albums, each with a different guitarist. Founded in 1983 by vocalist Graham Bonnet, Jimmy Waldo (keyboards, synthesizers) and Gary Shea (bass), the band enlisted Clive Burr (Iron Maiden) as their initial drummer. Well, that didn’t work out too well, since ALCATRAZZ was going to be based in the United States, as opposed to Burr’s native England. Shortly after, the band recruited Jan Uvena (Alice Cooper, Iron Butterfly) to fill the position. The core of Bonnet, Waldo, Shea and Uvena remained unchanged until the act’s disbandment, in 1987. read more

In October 1983, the band released “No Parole from Rock ‘n’ Roll”, with guitarist Yngwie Malmsteen, who had recently left Steeler. Following an altercation with Bonnet, Malmsteen left ALCATRAZZ and created his own band, Rising Force. Waldo replaced Malmsteen with former Frank Zappa guitarist Steve Vai, despite resistance from Bonnet, and the band signed with Capitol Records.

In the spring of 1985, on March 22nd, ALCATRAZZ released “Disturbing the Peace”, produced under the directions of the legendary Eddie Kramer. Where their debut album was clearly influenced by Malmsteen’s neoclassical style, and a Ritchie Blackmore’s Rainbow type production, the sophomore effort with Steve Vai was a more straight forward heavy metal record. “Disturbing the Peace” is arguably one of Steve Vai’s heaviest albums. The ability to constantly and flawlessly alternate from riffs to hooks to solos, and back, was something that Steve had already accomplished at that early stage of his guitar God status. Being a pure mid 80s production, the sound relays heavily on synthesizers, but leaves plenty of room for belters like “Stripper” and gallopers such as “Skyfire”. Worth mentioning is also the great vocal effort from Graham, who sounds his best when he pushes himself outside of the comfort zone and into the higher notes. This album is proof of that! The vast majority of the songwriting on the album was a collaboration between Graham and Steve. After its release the album remained for 7 weeks on the Billboard 200 albums chart, peaking at No. 145 and charted for a total of 16 weeks, in the rock charts.

Unfortunately, ALCATRAZZ could never break out of their small following, and the support tour for “Disturbing the Peace” had to be cut short due to financial issues. Shortly after, Steve Vai was invited to join David Lee Roth’s solo band, which he formed upon leaving Van Halen, in 1985. Steve’s split from ALCATRAZZ was in good terms, and he was replaced by guitarist Danny Johnson (Rod Stewart, Alice Cooper), with whom they recorded what became ALCATRAZZ’s final studio album, “Dangerous Games,” released in the fall of 1986. The band split up in 1987. Graham Bonnet reformed his own version of the band as Alcatrazz featuring Graham Bonnet in the new millennium, with various supporting musicians, touring and making festival appearances.

“Disturbing the Peace” is a great, yet underrated American heavy metal album, well written, recorded and produced. Enjoy the music!

Used by permission. © 2018 by Emil Chiru / UHF


CELTIC FROST “To Mega Therion”, Combat Records

Nothing says welcome to a world of twisted, gothic, euro-metal like UGH! It was in the public library of Aberdeen, Scotland I was permitted entry to the dark world of ‘To Mega Therion’ via the H. R. Giger art in which Satan, looking you in the eye, prepares a projectile to fire from a Christ slingshot to presumably hit you right in the face. And that, ladies and gentlemen is how you prepare your listeners for 45 minutes of dark, snarling, gothic, overdriven, metal. read more

Some call this album avant-garde, some black metal, some death metal; for me ‘To Mega Therion’ is like Motörhead’s ‘Ace of Spades’, in that it doesn’t really permit you to shoehorn it into any genre. It’s fast (some of the time), it’s heavy, it’s dirty, it’s sick, and it’s coming to trample all over you.

Those approaching this album expecting elaborate virtuosity will be disappointed. To be sure the playing is tight and the riffs are scorching, from time to time Tom G will launch a fierce solo out of the darkness, but the music is more about crushing intense riffing than it is a display of technical prowess. One thing you can rely on is a real authentic intensity. There is no artifice, no posing, the rage and the sickness is real. The album is an expression of genuine disgust, anger and mischief. It’s metal to make you feel dirty, in all the right ways. 

Celtic Frost had some pretty unexpected stylistic swerves during their on/off existence. Step back a year before to ‘Morbid Tales’ and you’ll get a raw, proto-black/thrash metal buzz saw attack; step forward to ‘87’s ‘Into The Pandemonium’ and things get really twisted with all sorts of elements and influences getting thrown into the mix, samples, drum loops, strings. And no matter how bizarre that was, I doubt anyone expected the band would morph into some strange appropriation of a glam metal band after that, which they kind of did, only to then die off after one more album before most improbably returning with a fucking vengeance sixteen years later with what proved to be their swansong, the crushing, doom metal of ‘Monotheist’. Whatever you may take from all of this, one thing is hard to dispute: Celtic Frost defies easy categorisation. There are probably many who wish the band had kept the template of what they were in ’85 and dug their furrow like Motörhead did, but whatever the forces driving frontman Tom G. Warrior are, they don’t lend themselves to simple refinement.

The album is not an exercise in armour polishing; yes they are sharpening an axe and it’s going to come down hard on your skull, but there’s all sorts of introspective torture to this muse too. The gothic flourishes that started to really spread their wings in the next album, are already finding form here like the ominous, operatic horns on ‘Dawn Of Megiddo’ or the ethereal vocal accompaniment on ‘Necromantical Screams’, but the album never fails to pummel and punish, whatever sonic elements may hang like clouds over the sledgehammer percussion and guitars that could shear metal.

Somewhat comparable to Motörhead and Venom at their peak, seminal in the formation of modern day extreme metal, there’s very much more here than a dark image and a brutal delivery (although Venom happily confirm theirs was a calculated effort to shock). It might seem strange to talk about lightness of touch for an album that comes at your like a diesel driven sledgehammer, but the use of additional instrumentation on the album is masterful. The horns and percussion on album opener ‘Innocence and Wrath’ help set the ominous tone and whenever they reappear, as they do occasionally, it’s always a subtle texture that complements the overall menacing mood of the music.  The same goes for the ethereal, mournful backing vocals. The essential setup throughout is pounding drums, rumbling bass, overdriven guitars and Tom G’s guttural vocals, but the band knows when to add extra textures to complement this musical core; a few decorative spikes to go on the sides of the war machine as it plunges over the terrain.

From an intriguing band, who showed several sides through their career, ‘To Mega Therion’ is an immensely satisfying, full-blooded, hammer attack of an album. They aren’t trying to impress you or show off, they’re being themselves, a band of incredibly talented and creative flawed human beings; flawed humans who made one fucking monster of a metal album.



POSSESSED – “Seven Churches”, Combat Records

“John to the seven churches which are in Asia. Grace be unto you and peace from him that is, and that was, and that is to come, and from the seven spirits which are before his throne…”  For centuries, composers have drunk from the fountain of inspiration that is the Apocalypse of St John the Divine.  What a strange, contingent old quirk of human history it is that the most faithful regurgitators of his prophecies should now be… well, if you look in the mirror, you may be staring at one of them. read more

We metalheads are the most industrious disciples of John the Revelator, whether we ply our trade in all seriousness or purely for the fun of it.  The inverted crosses, numbers of the beast, edgy fonts: they’re all now easily-recognisable, comforting tropes to our generation, numbed and spent from years of hyperstimulation.  But 33 years ago, this was still a reasonably new and energising thing, a way for teens cut from a certain cloth to recognise each other and bond.  No doubt it was also in part a reaction to the image-conscious but increasingly musically-vacuous video metal of Motley Crue, Def Leppard, and so on. 

1985 was the year of Tipper Gore and the PMRC, the ‘Filthy Fifteen,’ the birth of the parental advisory sticker.  But there were some parents who clearly weren’t paying close attention to what music their children were into, because a group of teens from Pinole Valley High School managed to slip low enough under the radar during spring break to record what many acknowledge to be the first death metal album.  In 1983, Blizzard singer Jeff Becerra had joined guitarist Mike Torrao and drummer Mike Sus after their first singer had shot himself in the head, and guitarist Larry LaLonde (Becerra’s bandmate from Blizzard) completed the line-up not long after.  Becerra’s influences included Motorhead and Venom, but LaLonde was a pupil of Joe Satriani and drew from a more diverse pool of styles.  He loved Zappa and Hendrix, could play the blues, and after the demise of this incarnation of Possessed he formed the funk metal band Primus with bassist Les Claypool and Todd Huth, another blues guitarist.  Add to this the prevailing local atmosphere of Metallica domination and the rise of Slayer and, further afield, the nascent West German thrash scene, and you begin to understand the wider context of this legendary album: it was a point of convergence, a crystallisation of various streams of influence, which in its turn then formed the blueprint for the bands of the near future to innovate from (for a slew of examples, check out our Years of Decay: 1991 post).  

Unlike Metallica and Megadeth, who had departed from satanic themes and begun to pen lyrics exhibiting a social conscience, the junior high schoolers of Possessed wanted to stick with the imagery they loved, even if it guaranteed censure and a reduced chance of commercial success.  Our featured track is the opener, ‘The Exorcist,’ which fittingly begins with producer Randy Burns’ keyboard approximation of The Exorcist film’s theme from Mike Oldfield’s Tubular Bells.  The track then crashes straight into action.  Becerra’s vocals could be appraised either as a snotty teen belching out a Lemmy impression or something far more original and demonic than his forebears had ever attempted.  Perhaps it’s the latter: they are highly significant as early death metal vocals and were much-imitated shortly afterwards. LaLonde’s tremolos a minute-and-a-half into the song are now iconic, as are his solos, being far less interested in copying the tightness of Maiden or Priest, but displaying no less technical proficiency.  Structure-wise, this was experimental, progressive, with plenty of tempo changes; the influence is palpable on the genre’s refining bands, such as Celtic Frost (via cross-pollination: they were contemporaneous and played together in Quebec), Trey Azagthoth’s Morbid Angel and Carcass via Napalm Death.  

Possessed fell apart a few years later, and in 1989 Becerra went through the horrific ordeal of being paralysed from the chest down in a robbery, during which he would have certainly been killed when the assailant had attempted to shoot him in the head, had the gun not jammed.  He’s understandably been through hard times, but the much-loved though little-known legend, who is credited with having actually coined the term ‘death metal,’ can still be seen playing with a refreshed Possessed line-up,  and is apparently set to release new material next year. 



DESTRUCTION – “Infernal Overkill,” Steamhammer

In Thrash metal the so-called Big 4 gets about 98% of the attention, I won’t even mention those 4, everybody knows them, right? In America there have been loads of bands worthy of attention, but only partially do they get what they deserve – Overkill, Exodus, Testament, Dark Angel to name a few. But in Europe the Thrash Metal movement back in the 80’s was spearheaded by Germany, Kreator, Sodom and Destruction, maybe not equal in sales to the American scene but hell they are in quality! read more

Destruction was the first of the 3 releasing their debut album, released in May 1985. The album is milestone in both their own discography and Metal in general. The fierce guitars and sinister sound created an angry album still sounding fresh today. I read a comment some time ago that they had a more of an evil sound than what was going on in America, sounds right in my ears too. The music is fast and aggressive, and in the guitar tone I hear inspiration of the legendary Hank Sherman of Mercyful Fate. All in all, it is a perfect old school Thrash album ticking in just under 40 minutes, a timeless classic.

One of my favorites is the opener “Invincible Force” still a regular in their live set. So, if you want a prime example of a band who is still wiping the floor with the so called Big 4, this album is where it all began…

Released May 24, 1985



SODOM – “In the Sign of Evil,” Devil’s Game

My love to Sodom dates since the very beginning of my metal years. I “met” Sodom for the first time with their logo drawn on a backpack and a jacket, and on a backpatch of a couple older metal guys at school. It was 1989. Back then the band (and seeing their logo) meant for me something heavy, a some strange mystery, and vague underground attraction. read more

Later, in the summer of 1990 I had Mortal way of life on a cassette (oh glory, I finally found the band to record it on tape!), and it was the noisiest, heavy shit I had been heard by that time. In a month I already had “Expurse of Sodomy” EP, “Persecution Mania” and “Agent Orange”, “officially copied” on tape. Witnessed “Better Off Dead”. Completing the full discography was hard though. “In the Sign Of Evil” and “Obsessed by Cruelty” were hard to find. 

In September 1991 two major things happened. First, close to my place a recording studio changed ownership, and two guys with big collections of vinyls took over the place. I literally could touch some of the major and rare classics by that time. Still wonder from where did the get all these vinyls. And second, the biggest metal live show by that time happened in Sofia, when Sodom arrived and played on stadium, in front of crazy 12000 metalheads!

Then I got a copy (paid) on personal tape of “In the Sign Of the Evil” recorded from the vinyl in the above mentioned studio and really couldn’t stop listening to these 19 minutes raw, bestial witching metal! Especially “Outbreak of Evil.” Still the riff of the song blasts with its simplicity and its pure magic when I listen to it.

Yes, recorded in the late autumn of 1984 (after two demos pure witching metal), these 5 tracks were a benchmark for many heavier bands afterwards, especially the second wave of (Scandinavian) black metal. This proto black metal record carries all the necessary tools, laid down in the genre on later stage. The riff tremolo pickings, the haunted evil echoing vocals, the lyrical themes, the fast drums and even the creepy intro. The sepulchral underground sound is unbelievable – dark, grim and pure evil, amazingly completed by all the screams in the vocals. Corpse make up as well. Also, just look at the cover art! Just look at it, and immediately you will feel the cold breeze of underground tunnels, crypts and burning torches. Black figures with hoods walking ritualistically slow, in order to reach to the next victim in the name of Satan…

Again, emphasizing on the simplicity and the raw power, let’s say that the three youngsters didn’t play superbly at all, but with so much heart and energy. Yes, Witchunter’s (RIP) drumming is still sloppy and the songs are built on 3-4 riffs by Grave Violator. Of course the influences by Venom, Motorhead and Tank can be spotted overall in the music, but the hammering bass and Önkel Tom (Angel Ripper) have never hidden this. However the record is heavier and emotionally charged.

By releasing officially the EP in February 1985, all hell breaks loose, and along with Bathory, Hellhammer/Celtic Frost and Venom, Sodom took the lead of the hordes on their march in the eternal war for Darkness. Yes, the Evil has been born in Europe in the beginning of the 80s. Period.

Legendary, “In the Sign of the Evil” is is among the most important records in the heavy music at all, without even the three German boys to have realised this back in 1984. The rest is history.

And yes, “Blasphemer” has been released before Slayer’s Chemical Warfare, for the sake of similarity of the main riff. 


Count Vlad


Overkill – “Feel The Fire”, Megaforce Records

over-kill\’o-ver-,kil\ n

1: the capability to obliterate and destroy with more force than required

Let’s start with the end in mind here. This is an essential thrash album by a band that has embodied this genre since this very release, and has been unrelenting in its pursuit to remain both relevant and credible throughout their 38 year careers. Which includes 18 Full-Length albums, multiple EPs and Live Recordings and their incredible dedication to outstanding live performances, while never forgetting their fans! Overkill the band is as relevant today as they were in the early 80’s with no sign of slowing down…Worship them as I have for nearly forty years! read more

The highlights of “Feel The Fire” are numerous; my favorite tracks remain Hammerhead, Rotten to the Core, Blood and Iron, Feel the Fire and the Crushing Overkill! At the time of its release the band and album had all the makings of a major force in the trash movement, and were regarded as such with the release of “Feel The Fire”. They had the look, the riffs, the voice and the attitude that they’ve worn well for the last four decades.

Their debut is quite excellent, the highlight being BobbyBlitz’ Ellsworth’s vocals with the combination of raspy and clean vocals along with his evil laughs and snarls and were what really drew me into the band and this release at the time. Those that were turned off by Bobby’s vocal style truly missed the mark, as his unique singing voice paired with that raspy style make it all work for Overkill. Remember that Overkill is a band that got heavier and heavier over the years unlike many of their contemporaries. Even the backing vocals on “Feel The Fire” are fantastic with all the chants and shouting. Of course the center of any proper thrash album are its riffs which are front and center as Bobby Gustafson did not disappoint with his impressive soloing and performances throughout. The production from Carl Canedy was not great, and in my opinion the one potentially week component of the album if there are any? Frenetic energy drives the album, with Rat Skates and D.D. Verni really keeping up that tempo throughout the recording and their equally impressive performances.

The best part of “Feel The Fire” in my opinion and at its core is that some of their very best songs that not only still hold up today, but are setlist mainstays have made this album both essential and amongst the very best thrash recordings. Hammerhead for example is such a highlight of the time with its super fast delivery, pounding double-bass that screams mosh-pit!Especially when Blitz screams “Banging your head, Stuck in the Dread…Leaving the Posers Behind!”. Then you have Rotten to The Core which has such an incredible riff with those fantastic chants and choruses; easily one of my favorite thrash tracks of all-time!

The bottom line is “Feel The Fire” has always had a special place on my ultimate thrash playlists and always will…If you don’t own it or know it? Get it and play it..loud!

Rot, Rot, Rot, Rot, Rot…Rotten to the Core!

Release Date: October 15, 1985
Format Reviewed: Vinyl MRI 1469

PLAY DEAD – “Company of Justice”, Tanz

In 1985, the post punk/goth scene was truly flourishing, with bands such as Bauhaus, The Chameleons, Killing Joke, Siouxise and the Banshees, The Danse Society and Xmas Deutschland already had a couple of albums and various EP’s under their belt – while The Cure released ‘The Head on the Door’ and Sisters of Mercy’s released their highly acclaimed first album ‘First and Last and Always’ that propelled them into the stratosphere. However, unless you were of a certain age and remember the emerging scene the first time around – there is a certain British band that have been forgotten, called Play Dead. read more

Play Dead initially formed in 1980, and by this point already had a few single and EP’s and had been on numerous tours – scoring a TV appearance on The Tube in December 1984, a music show that was well known in the UK that was first broadcast on Channel 4. In 1985, they released what was to be the final studio album in the form of ‘Company Of Justice’, that in an ideal world should have propelled them into the big leagues shared by the likes of Simple Minds and U2 – such is the huge dynamic presence that poured from the album’s grooves.

Nevertheless, Play Dead made the best album of their career. Sounding like a glorious marriage of the huge riffs and polyrythmic drums of Killing Joke, a John Lydon-esque vocal sneer reminiscent of Public Image Limited combined with Adam and the Ants pop flourishes sounded like they had the world in their hands and it was theirs to conquer. Tracks such as ‘Witnesses’ and ‘This Side of Heaven’ are infectiously catchy where they also added synthesisers to the mix and new wave influences as heard on ‘Chains’. Alas, they disbanded in 1986 and the album has a frozen snapshot in time as to what could’ve been. One of the best releases of 1985, that seriously needs tracking down for your collection.


Goth Mark

In case you need to enjoy the tracks, you can always blast our 1985 choices from here:

Truly Yours,
Blessed Altar Zine Team