Damien Thorne: The Sign Of The Jackal-80’s-1986.

Damien Thorne is an American metal band from Chicago , Illinois that formed in 1983.

The band was formed in 1983. After developing the first songs, they performed in Chicago over the next two years. Then the band reached a contract with Cobra Records and Roadrunner Records . With these labels followed in 1986 the debut album The Sign of the Jackal .

Pete Pagonis
Drums (credit only)
Justin Fate
Vocals
Ken Starr
Guitars
Michael Monroe (R.I.P. 1993)
Guitars
Sanders Pate (R.I.P. 2014)
Bass

 The release was followed by a tour with groups like Nuclear Assault and Fastway . During the recordings for the second album Wrath of Darkness in 1987, the band had to separate from Cobra and Roadrunner Records for legal reasons. After that, the band moved to Los Angelesaround and looked for a new label there. However, as the interest in Thrash Metal increasingly flattened, she was unsuccessful with this, so she moved back to Chicago after a few years. In 2004 The Sign of the Jackal was re-released and Wrath of Darkness also appeared for the first time. In 2005, the album Haunted Mind was released , followed by End of the Game in 2011 . [1]

Discography:

Killing ForceDemo1983 
The Sign of the JackalDemo1984 
The Sign of the JackalFull-length1986
Former LifeEP1998 
Wrath of DarknessFull-length2001
Haunted MindFull-length2005 
End of the GameFull-length2011 
Soul StealerFull-length2015 
Ken Mandat
Guitars (1983-?), Guitars (?-present)
See also: ex-Witch Slayer, ex-Bug
Brian Buxbaum
Keyboards
See also: ex-Crazy Diamond, ex-Side Effects
Warren Halvarson
Vocals (2012-present)
See also: David Shankle Group, Heaven & Hell (Chicago), ex-Crystal Axe, ex-NVS
Mick Lucid
Bass (2019-present)
See also: Devil LandVicious Circle
Kevin Tarpey
Drums (2019-present)
See also: Vicious Circle, ex-The Skull

Past Members:

Rick BrowzBass
Sanders Pate (R.I.P. 2014)Bass
Pete PagonisDrums
See also: ex-Hammeron
Tommy KrezDrums
Brian Michael HorakDrums
See also: ex-Life Sex & Death
Michael Monroe (R.I.P. 1993)Guitars
Matt HeuserGuitars
George SheltonGuitars (lead)
Justin FateBass (1983-?), Vocals (1983-?)
See also: ex-Septer
Rich BorowczykBass (2001-?)
Mike BrowzDrums (2004-2019)
See also: ex-Queen Acid, ex-All Access, ex-Arson, ex-R.M.S., ex-The Given, ex-Whyte Rock
“Tattoo” FrankVocals (2005-2008)
See also: ex-Premonition, ex-The Altar, ex-Deadly Bizarre
Joe MartinaVocals (2005)
See also: ex-Fierce Atmospheres
Martin DeBourgeVocals (2008-2012)
See also: Kantation, ex-Spectra, Head Transfer Process, Quester, ex-7th Overture, ex-Final Decree, ex-Torman Maxt
Damien Thorn: Harvey Stephens Spencer was born on November 12, 1970 in 
Putney , 
London , 
England , the fruit of the marriage of Jim and Jackie Stephens. 
He was a child with great acting skills. 
At the age of 6, he shot his first film playing the 
antichrist , 
Damien Thorn , in what would later become a horror masterpiece 
The Prophecy of 1976, along with 
Lee Remick , 
Gregory Peck , 
Billie Whitelaw and 
David Warner .
According to director 
Richard Donner , during an interview with the AMC, Stephens landed the role after Donner was beaten and Donner in response punched 
the person who had beaten Richard 
in the 
testicles . 
To achieve this role, she had to dye her hair from blonde to brunette to match her angelic-evil face. 


For his work he was nominated for a 
Golden Globe in the category of Best Newcomer Actor.

The Omen ( The Omen ) is a horror film britano American of 1976 directed by Richard Donner . The plot is based on an original idea by producer Harvey Bernhard , who hired screenwriter David Seltzer to prepare the script . It stars Gregory Peck , Lee Remick , David Warner , Harvey Stephens , Billie Whitelaw , Patrick Troughton , Martin Benson, and Leo McKern.. The theme song is Ave Satani , from Jerry Goldsmith , who won his only Oscar of the Academy for his work on the soundtrack .

Songs
Side A
1.The Sign of the Jackal04:13  Show lyrics
2.Fear of the Dark03:38  Show lyrics
3.The Ritual03:32  Show lyrics
4.Grim Reaper03:44  Show lyrics
Side B
5.Hell’s Reign03:41  Show lyrics
6.Escape or Die04:06  Show lyrics
7.Siren’s Call02:38  Show lyrics
8.Damien’s Procession (March of the Undead)06:46  Show lyrics
 32:18 

One response to “Damien Thorne: The Sign Of The Jackal-80’s-1986.”

  1. Gutterscream, March 9th, 2007
    Written based on this version: 1986.
    “…the pain and the glory, the fight and the shame, sinners beware of the night…”

    Apparently enamored with the The Omen flicks released from ’76-’81, Chicago’s Damien Thorne are easily more speed than thrash, more traditional than speed, and visually more prissy than portentous even while wearing all the leather they own (and are more cream puff yet in the back cover shot), but that doesn’t stop them from concocting a musical script that’s both uncommon and unorthodox, yet powerfully engineered. Simply, the band is unambiguously underestimated – at the least a sideshow band in the eyes of the scene, in the weeds near the road well traveled, and is a consummate sleeper of ‘80s metal. An undeserved grave, but Sign of the Jackal finds resurrection with each spin in newbie presence.

    With a dusky, nearing night demeanor, the quintet animates its tunes with a songwriting prestige and intrigue that in other bands sometimes sounds forced or coerced. With Thorne, all seems natural and instinctive, even when brow-raising structures and epic hooks are located as if found abandoned on metal’s battleground of creativity, gathered up by the group, and then sewn together after torturing themselves with whatever albums in their lives have bored them to tears. In roaming the field, they seldom come in contact with the progressive or technical planes and skirt confrontations with thrash’s unshaven barbarians. While this sounds about as multi-dimensional as a game of Steal the Bacon, what the band does best, unequivocally, is brandish the traditional metal sword often enough that everyone around knows where their flag of preference flaps.

    As a single entity, The Sign of the Jackal is strangely classy, possibly more so than, say, Omen’s wonderful first, yet only in the sense that Thorne’s debut is gifted with a few more layers of daring and obtrusive songwriting. In fact, forget Omen. A contrast much more fitting falls on Tyrant (US), right around the time their hardly humble Too Late to Pray lp bent its knees to the scene. Though less caliginous and more melodic than the California four-piece, the atmosphere these two bands billow are similarly shaped and consistent, sharing a cocksure style that’s unafraid to tattoo that battleship on its chest. Rhythms melodic, devious, and stand off-ish churn with elegant might and are hardly ever erroneous as they’re hatched and placed. Even voxman Justin Fate foams with heresy somewhere between diabolic Glen May and scarlet ’84-‘85 Jon Oliva, and like that pair is capable of sending notes into cloud cover, summoning ghostly King Diamond/Don’t Break the Oath-era paint-peelers as echoed in “The Ritual”, “Hell’s Reign”, and the doom-shadowed title cut.

    Hair trigger tracks like “Siren’s Call” and “Fear of the Dark” live closest to the progressive realm, their gait and style charging beyond the steady medium pace of the other tracks, yet are far enough away to still be considered on its outskirts. A top draw like “Escape or Die” throws a bit of drama into the ring; unusual timing shifts while it jogs in the median, stable and standard, then pounces with a glory-hammered chorus. In the meantime, “Damien’s Procession (March of the Undead)”, the album’s ‘epic’, strides under a long canopy of tempo and timing changes, interacting with structures that rise and fall, bloat and dilute, but never lose sight of the ball that’s being traditionally thrown around.

    In order for albums like these to tread water in the river of superior recordings, musicianship can never be bare bones and by and large should transcend mere competency. Guitarists Ken Starr and Michael Monroe (no, not the dip from Hanoi Rocks) are wholly capable talents that perform in such low-key pizzazz it’s not hard to lose sight of them amidst their unconventionally conventional voice. And despite being in the back cover shot, B. Hurak, not Pete Pagonis, mans the drums on this album, and does so with exceptional strength of arm.

    Unfortunately, the production is as flat as a bus driver’s ass.

    With only the mix being a sore spot to be had, The Sign of the Jackal is one of those albums I can uncommonly sit entirely through without reaching for another. Damien Thorne. I still think it’s a pretty cool name, even if some fictional devil’s child got tagged with it first.

    Like

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