Due to this fashion of playing/buying Metal from the 80s, a weird phenomenon has begun: some recording labels started desperately to find bands from those years that never released their material as an album. Some compilations appeared, some of them being really good, but some of them don't deserve to be rescued from the tombs where they are laying to rest. It's to be forgotten, and that's all. But the more the labels try, the more musical waste is being released. I'm sorry to say, but the recollection of materials from Seattle extinct band KODA KHAN is one of those losses of time that I always mention. "Tales from the Darkside 83-88" is truly disgusting!

Once more we have the same old and good US Metal that is filled with energy and aggressiveness, but with refined melodies, some moments with keyboards parts. The problem is: they were an ordinary band, like many others from those days, based on NWOBHM, JUDAS PRIEST and ACCEPT musical elements. But they aren't in the same level of bands as RUTHLESS, OMEN, LIZZY BORDEN or MALICE, don't have the same brilliant essence. It's a waste of time to hear this album. The sound quality, strangely, is not as moldy and rusty as we could think (it's a collection of material from demo tapes), with a fine level of clarity and a very good dose of musical weight. Obviously it's not like those from our days, but it is amazing for those times.

As the songs pass by, the clear idea that we have is that even on the 80s, they couldn't compete with the names I told above, and remind that USA was in the middle of the Glam Metal invasion, to play heavy and aggressive demands to be an outstanding act. On some songs, we can see that they had talent to create something better, but to spend 5 years on underground with no good response from public and labels is really frustrating. "Fantasy and Science Fiction", "Firesing" (in this one, we can hear some similarity with VIRGIN STEELE's works), the heavy weight of "Hypnotized", "City of Gold (Ver.1)", "Rough Diamond", the good guitars on "Straight Shot", the introspective melodies of "The Gift", the drums and bass guitar parts on "Beyond Misery", and "City of Gold (Ver.2)" can show how they needed a producer to give them a hand to put their musical talent out, because they only sound as many others from the same time.

I really feel sorry for KODA KAHN could not evolve more before the band's end, but I can understand why releasing such recollection today. If you're an archeologist of Metal, go for it.