After a decade and a half of delivering punishing metal to rabid fans, Tourniquet's first release, Stop the Bleeding, is often dismissed as merely being a spring board for their later efforts. It' uniqueness is commonly overlooked, and is implied by some as being a bit outdated.

Though it is quite true that a lot has changed in metal since 1990 (not all for the better), this is still an album that offers more sonic intricacies than most - past and present. It is also bone crushingly heavy!

A common grievance is the shrilling falsettos of Guy Ritter. This style of singing was more commonplace during this era and comparisons were usually made between him and King Diamond. For some, this may depreciate the originality. But set against the blistering background, these vocals create a musical ambience akin to no one else. His unrelenting shrieks on "Ready or Not," for example, resemble the howls of a frail yet hideous creature crawling out of a tomb.

Though there was no official bassist (they were essentially a trio), the work that was laid down in this respect is crunchy and more than functional. The bass work on "Harlot Widow and the Virgin Bride" is particularly prevalent and works well in this fashion. The guitar work is pristine and hints at the technical progressions that will emerge on later albums. Needless to say the drumming is extraordinary as Ted Kirkpatrick introduced his signature beats. One can literally be transfixed into the drumwork alone.

This album shines ten metallic gems that don't let up. Highlights are the melodic "Test for Leprosy" containing one the coolest bridges ever, the epic "Tears of Korah" that successfully conjures the setting of the subject matter, and the infectious whirlwind that is "Swarming Spirits."

In conclusion, Stop the Bleeding is worth any metal fan's time - be it to reminisce or to ponder Tourniquet's timeless musical innovations.