Living Death had gained some more momentum after the release of their second full-length effort Metal Revolution, which turned out to be a minor classic in the underground. Internally, drummer Andreas Oberhoff opted to leave and Atomic Steif (a.k.a. Guido Richter) would take his place. Living Death would then go into the studio to record a small amount of material in the form of the Back To The Weapons EP. This is where Living Death become totally thrash oriented, and the change is immediately apparent as soon as Nuclear Greetings kicks in. The band here are playing harder and faster than previously, with the songs being propelled by some highly aggressive and quick riffing and thunderous drumming. The odd one out is the Motorhead-ish Bloody Dance, which is slightly slower speed metal, but still holds it's own against the other slices of thrash on this EP. The other three songs would serve as the foundation of Living Death's sound on the next album, especially the more complicated Nuclear Greetings and the frantic Child Of Illusion. Steif wastes no time establishing himself within the band, powering the band with his rock-steady drumming. His style is similar to that of his predecessor, except faster and slightly more fill happy. He is particularly aggressive during Child Of Illusion. Frank Fricke and Reiner Kelch refine their twin guitar approach even further, putting together blazingly fast and exceptionally tightly-executed riffing throughout all the songs. Their forearms must have been as stiff as lead after laying these down. Their lead guitars tend to walk the line between frenetic shredding and complete chaos. Dieter Kelch in his role as bassist seems to do little else other than back up the guitars, laying down a solid low end. And here is the part which will decide whether or not you will enjoy the album. Thorsten Bergmann is back, and even more abrasive than before. The high-pitched screech of the previous album has altered slightly, coming across a little less melodic and a lot rougher. The most apt comparison to his voice is to that of a pig being slowly and painfully tortured. This approach is hit and miss. On Bloody Dance, his vocals a