Along with the somewhat better known
Korzus, Attomica represented the crème de la crème of Brazilian thrash metal during the movement's world-wide golden era in the mid-'80s. In fact, whatever Attomica may have lacked as compared to the more experienced, sonically diverse, and better established
Korzus, they easily made up for in terms of youthful intensity with their 1987 debut album's raging brand of ultra-thrash. More significantly, Attomica also showed greater awareness of the international market by writing all of their lyrics in English at a time when most of Brazil's older heavy metal guard --
Korzus among them -- insisted on sticking with their native Portuguese. Of course, it was very much a pidgin form of English that one found on Attomica thrashers like "Dying Smashed," "Children Assassins," and "Flesh Maniac," but this really didn't matter that much given vocalist Laerte Perr's often indecipherable rasp. And few would argue the point that it was truly Attomica's instrumental prowess which elevated their material above that of many Brazilian peers; injecting choice offerings like "Marching Over Blood," "No Life 'till Madness," and the instrumental "Lost Time" (complete with token acoustic guitar intro) with plenty of memorable riffs, solos, and arrangements, in spite of their often bloated lengths. Finally, the album wraps up with one of the all-time classics of Brazilian thrash in the amazingly frenzied "Samurai," but, for all of Attomica's positive qualities, it's still quite obvious why Brazil never achieved as much world-wide recognition for producing thrash metal bands, as it did in the fields of death (
Sepultura,
Krisiun), black (
Sarcófago,
Vulcano), and power metal (Viper,
Angra). [Kill Again Records' CD reissue of Attomica's self-titled debut tacked on four bonus tracks that were recorded in 2005, but showed remarkable sonic similarities to the album's original thrashers from 1987 -- proof positive that the band's spicy recipe has stood the test of time.] ~ Eduardo Rivadavia