UMUR "The Plague" is an EP release by US, New York based thrash metal act Nuclear Assault. The EP was released through Combat Records in 1987 (recorded late 1986/early 1987). It bridges the gap between the band´s debut- and second full-length studio albums "Game Over (1986)" and "Survive (1988)". The most known track from "The Plague" is probably "Butt Fuck" (which was later retitled "You Figure It Out"), which is dedicated to Mötley Crüe singer Vince Neil. Nuclear Assault felt that should have been Neil´s punishment while imprisoned for his late 1984 vehicular manslaughter and driving under the influence of alcohol conviction. Instead Neil was only sentenced to 30 days in jail (of which he only served 15), had to pay a million dollar compensation to the surviving victims of the car crash, and had to do 200 hours of community service.

Stylistically "Butt Fuck" is also a bit different from the rest of the material on the 6 track, 22:15 minutes long EP, as it´s a humourous song which comprise fast-paced hardcore sections, and a pretty silly blues rock middle section. The remaining tracks follow the raw hardcore influenced thrash metal with speed/traditional heavy metal leanings that the band also played on "Game Over (1986)". The opening instrumental "Game Over" and "The Plague" title track stand out the most, but the quality of the material is consistent throughout.

The EP features a raw and well sounding production, which suits the material perfectly, and the musicianship is also on a high level on all posts, so upon conclusion "The Plague" is a quality EP release by Nuclear Assault. A 3.5 star (70%) rating is deserved.

Vim Fuego Nuclear Assault is one of those bands where if you see their name on an album, you know what you’re going to get. ‘The Plague’ delivers exactly what it promises, and throws in a couple of surprises for good measure.

Basically, ‘The Plague’ picks up right where ‘Game Over’ left off, but the band had developed a little. The most obvious difference is John Connelly’s voice had matured a bit, and he seemed more confident as a vocalist. Despite annunciating clearly, he was still one of the hardest thrash vocalists to understand. The overall production is also stronger than on ‘Game Over’; giving more bite to the rhythm guitar in particular. Nuclear Assault’s sound was always more hardcore influenced than New York scene mates Anthrax’s, particularly Dan Lilker’s bass lines. It is hard to imagine what direction Anthrax might have taken if he’d remained in that band.

For reasons best known to themselves, Nuclear Assault released the song “Game Over” on ‘The Plague’ EP rather than the album of that title. It’s a speedy little instrumental ditty, and sets the tone for the songs to follow.

In these days where it is commonplace for musical styles the world over to get mashed together, it seems strange that Nuclear Assault were a little worried about “Butt Fuck”. After all, thrash fans weren’t really known for appreciating surprises. The song starts off as a traditional enough hardcore track, with spoken word vocals, but then kicks into a laid back blues passage. “Ya know, we’re probably gonna get a whole lot of slack for putting a blues part on a thrash record,” drawled Connelly. And they did, but like he goes on to say “If you don’t like it, don’t listen to it”. The song is basically a rant about the trials and tribulations of recording an album, and anyone who misses the obvious humour in it needs a kicking.

The title track is one of the most ambitious Nuclear Assault recorded. Instead of balls to the wall thrash, “The Plague” is a slower epic track, which has a doomy feel to it. It allows Lilker’s bass room to wander, and features noise-laden solos not constrained by the band’s usual velocity. Connelly pulls out an impressive falsetto for the chorus, and while he’s not completely in control of the upper registers of his voice, it puts the point across and contrasts well to his normal bark.

Just so you don’t forget this is Nuclear Assault, final track “Cross Of Iron” puts the pedal to the metal, pulling out shredding solos, and high speed riffery.

While this release doesn’t have a whole lot of substance, it is fun to listen to, and that is what music should be all about.