When people talk about thrash metal, the Bay Area is impossible to ignore. The list of landmark albums to emerge from that scene is almost endless: Bonded by Blood, The New Order, The Ultra-Violence, and even Seven Churches, the record that helped pave the way for death metal. It’s a catalog of releases so influential that calling them “essential” almost feels like an understatement. Yet among those classics, there’s another album that deserves to be recognized as one of the scene’s defining records, even if it too often gets mentioned only as an afterthought.
Whether that’s unfortunate or fitting depends on your perspective, because Forbidden Evil is one of those records that quietly slips under the radar at first. But once you dig a little deeper into the scene and discover it for yourself, it becomes impossible to forget. The same can be said for the band behind it. Forbidden never reached the same level of popularity as many of their Bay Area peers, but that has never made them any less respected. Quite the opposite. Their early lineup featured the surviving founders Matt Camacho and Craig Locicero, joined by Russ Anderson, Glen Alvelais, and none other than Paul Bostaph—now renowned for his work with Slayer.
The talent within that lineup was undeniable, and it shows clearly on their full-length debut, an album that unquestionably earned its place among the defining records of Bay Area thrash.
Chalice of Blood opens the album with razor-sharp riffs, relentless tension, and constant tempo shifts, showcasing the chemistry between Craig Locicero and Glen Alvelais, while Russ Anderson delivers an aggressive, charismatic vocal performance. Off the Edge keeps the intensity high thanks to its relentless riffing and Paul Bostaph‘s explosive drumming, displaying the precision and technical skill that would establish him as one of thrash metal’s elite drummers. Through Eyes of Glass stands as the creative peak of the record. Rich in atmosphere and dynamic songwriting, it features beautifully crafted melodic solos from Locicero and Alvelais, while Anderson delivers one of the most passionate vocal performances of the entire album. The title track then impresses with its crushing riffs and the often-overlooked bass work of Matt Camacho, whose playing adds depth and weight to the band’s ever-changing rhythms. March Into Fire follows by leaning into groove and heaviness, once again allowing Bostaph to shine as he navigates the song’s complex rhythmic twists with effortless precision. Feel No Pain raises the stakes with one of the album’s most devastating riffs and another exchange of guitar solos, while As Good as Dead thrives on immediacy and aggression, driven by the rhythm section formed by Camacho and Bostaph. Finally, Follow Me brings the album to a spectacular conclusion. The longest composition on the record builds toward an explosive finale, featuring interplay between the twin guitars, a rhythm section that glides through every transition, and a dramatic, emotionally charged vocal performance from Anderson that provides the perfect closing statement.
It may not enjoy the same legendary status as some of thrash metal’s universally celebrated classics, but one thing is beyond dispute: Forbidden Evil stands as one of the Bay Area’s defining records. Speed, technical brilliance, melody, and sheer aggression blend together with remarkable balance, resulting in a record that perfectly captures the exceptional musicianship of Forbidden. More than just an overlooked gem, it remains one of the finest achievements of the Bay Area thrash movement—and one that deserves to be remembered alongside the genre’s greatest classics.
