Night Demon - Curse of the Damned [2015]

Since everything from rainbow filtering to tasteless 'malcore' music is being practiced these days with utmost diligence, it would be impossible for me to argue against the resurgence of NWOBHM throwbacks, which has, along with the emergent superstars of rehashing from other genres of metal have created a small scene of their own. I can hardly find anything wrong with this; since I'm equally gratified to see legends from the olden days like Satan and raven uproot the foundations of modern heavy/speed metal with stunning comeback records as I am seeing newer groups like Iron Dogs, Hessian and Trial rise to the pulpit and proclaim these awesome, refreshing records which manage to retain identity and diversity without staving off the fundamental core of the 80's. California's Night Demon are not exactly on the same list as some of their more potent peers, especially when it comes to originality, and in fact their self-titled EP was not much more than a fun blast of modernized Angel Witch and Judas Priest, calcified in its obsession, but their debut is such a great, if frivolous, pastry of early 80's speed/heavy aesthetics that I'm willing to forgive whatever faults were made in the past.

Granted, those faults weren't many with their self-titled EP, since that was jumpy, Americanized misadventure in NWOBHM which could hardly be accused of anything except perhaps perusing its source material too deeply, and to be sure, their debut doesn't seem like a far cry from that familiar path, with cheesy 80's-inspired horror flick and youthful attitude, This is basically a parade for fans of anything from Exciter and Anvil to Maiden and Raven, from Razor and Running Wild to Abattoir and Angel Witch, or even newish acts like White Wizard and Enforcer. The 'heavy metal' palette offered here is pretty sparse, so the sound has a wide spectrum of appeal, simplistic barrages of speed metal and bluesy chords smitten with an occasionally heavier pantry of thrash-y discord and mid-paced chug fares a la Exodus and Agent Steel, and bear in mind that Night Demon are never melodic or intricate enough to earn themselves a seal of approval from the department of technical guitar work: so the riffs don't mirror the gyrating, harmonious minimalism of Iron Dogs, since the production is a fairly granular from any point, with tracks like the title track plodding on with some more mid-paced, rhythmic sways instead of a directly dynamic, effusive Iron Mainde-esque parade of whizzing melodies and lightweight chords. In fact, in the sense that ''Curse of the Damned'' feels more thrash-based than your regular NWOBHM outfit (think early Priest, Jaguar, early Satan, etc.) I might add that Night Demon aren't performing the strictly 'purest' brand of heavy metal. But who the hell cares, right? All the convoluted scholarly blather aside, the Californians kick ass on many levels here. ''Killer'', ''Screams in the Night'' and ''Heavy Metal Heat'' are all blazing metaltastic anthems (the last one being my favorite) loaded with unabashed, peppy riff-work that's never as coarse as, say, Piledriver, but never quite 'clean' either.

Sure, you may say that the tracks on this record feel too modern compared to their roots, especially with ample production values and Brent Woodward's vibrant vocals, but the again everyone's cashing in on the production game nowadays, since audibility is far too alluring to refuse, and while a tortured, punkish scream could as well have been supplanted on some of the songs, I can't say I'm in protest of the guy's voice. However, it's not that the back-to-basics riffing coupled with the loud production doesn't create a caveat. There are 1-2 humdingers across the record, but overall I did expect a stronger array of riffs from Californians that would have complemented the airiness of the record well; in fact as a restless dreamer and formulator of imaginary case-scenarios I envisioned that ''Curse of the Damned'' could have ousted a further dozen records in similarity had it displayed some more guitar acrobatics or impressive leads like on that spectacular album Satan bequeathed us with back in 2013, and sometimes the band will lag into this Sabbathian doom groove that doesn't always comply with its naturally gritty aesthetics. This is still old school, folks. To be frank, bands like Hessian or Order of the Solar Temple are practicing heavy metal with a closer adherence to the genre's early 80's and late 70's template than Night Demon, and while everything doesn't fall perfectly here, I did enjoy this album, especially some of its dirtier tracks just as much as Rob Halford enjoys a fast ride on his motorbike, so if you're ever in the craving for nostalgia, but with a modern face, look no further.

Highlights:
Heavy Metal Heat
Screams in the Night
Livin' Danger

Rating: 75%

Inculter - Persisting Devolution [2015]

Norway is a fertile harbor for not only its chief export of black metal, but also for a recent upsurge in bands which claim immunity from being stringently pigeonholed into either one of the black, thrash or speed metal genres, and hence exposing themselves to the market shamelessly as 'black/thrash', drawing their influences not just from such antiquarians of primal evil such as Bathory, Venom or Hellhammer but also younger acts like Nekromantheon, Deathhammer and Aura Noir, also haling from Norway. Needless to say, Inculter is another one of Norway's breed of frolicsome evil, a compelling two-piece running on the strength of merely an EP and a demo, with a new record that hardly eschews the kind of rifftastic profanity purists seek in this niche. And to wit, the Norwegians create an infernal expanse of black and thrash metal that doesn't just scream 'Bathory', but actually secures its position as a record with some identity and simmering infernal magnetism.

''Persisting Devolution'' definitely moves a fraction beyond the 'stock' black/thrash offering as offered through the various records of Force of Darkness, Destroyer 666, Witchburner and the like, owing to the skippy, fraudulent quality of the riffs, at times sounding like a blackened version of Death Breath's ''Stinking Up The Night'' with frenetic, lashing chords and fantastic speed/thrash cutlery, always campy yet also genuinely disturbing. The tone and pace of the album are perfect; it's sufficiently lo-fi, rugged enough cook skewed human flesh on, if you're into some analogy, but still clear enough as to hearing the excellent slew of riffs which the Norwegians propagate, reaching paces fast enough to keep up with one ''Reign in Hell'' or ''Horrified''. Make no mistake folks: this as 80's as you're going to get. The promise of denim, leather, spikes, motorbikes and auditory grime is just the cherry on top of the huge rotten cake of festering flesh and gnarly awesomeness, but unlike so many gimmicks undergoing a similar trajectory Inculter are abstrusely efficient with nearly not one second spared from the the album's razor-sharp array of riff-works and fanaticism. Remi's vocals are serpentine and gruesome to the bone with a clear nod pretty much any other band operating in this niche, but his inflection is ghastly enough to accrue frilly 80's anger and infernal fire at the same time.

Inculter's subscription to the art and literature of the black/thrash niche is more than convincing. The songs are all boisterous, fast and fleshy, from the choppy ''Mist of the Night'', to blistering speed metal rampage of  ''Diabolical Forest'' to the simply excellent ''Traducers Attack''; each track does not necessarily promulgate an entirely original or separate sense of evil or blasphemous delight, but there's so much fun to be had among the jumpy cascade of riffs, mutes, pluggy bass lines and cramped drum fills that one really cannot care all to much, especially with the existence of 2-3 outstanding pieces in the entire compendium. The closest thing I can cite to ''Persisting Devolution'' besides the regulars is probably Deathhammer's ''Onward to the Pits'' or Nekromantheon's ''Rise, Vulcan Specter'', although the former was more engrossed in heavy/black than anything else, and the latter was indefinitely heavier. It only goes on to show that the album is another great addition to the black/thrash vernacular. Even at the finale, ''Envision of Horror'', the dynamic evil is there. There's still plenty of space for Inculter to develop, but ''Persisting Devolution'' brims with youthful, daemonic energy; ignore at your own risk.

Highlights:
Persisting Devolution
Traducers Attack
Diabolical Forest
Mist of the Night

Rating: 80%

Enforcer - From Beyond [2015]

To be frank, I wasn't too enamored by Enforcer's ''Death By Fire'' simply because it didn't click with me the same way ''Diamonds'' did, as if their slippery grasp on maintaining quality 80's speed/heavy traditionalism in the 21st century was finally going astray. In retrospect, it's amazing that the Swedes had the guts and aplomb to full of such a feat in the first start. Pulling off a sound hearkening 25-30 years back to the genre's more formative years with some actual sturdiness beyond the simple speed/thrash cliches in no easy task, folks (although the fact the guitarist/front man Olof was an ex-member of Tribulation definitely helps) and with ''From Beyond'', the Swedes' latest export through Nuclear Blast, I found a suitable amount of reconciliation of the deficiencies of the previous record, while still keeping things crystal-lucid with that irresistible old school flavor.

One might appreciate the over-the-top image that Enforcer is trying to fit into; with hairy flare and hair sprays galore, plenty of tight jeans and even a logo beckoning the 80's - depending on whether you're appreciative of the whole hair metal scene. Enforcer appeals to a little more than just Angel Witch and Judas Priest since there's a fuck ton of proto-thrash or speed/power like Jag Panzer and Liege Lord to go around, and of course a more than enough dosage of ''Kill 'em All''. Bands like Enforcer and their counterparts White Wizard seem perfectly tailored toward the roiling audiences with evident 'sophisticated metal' acalculia, but I'd like to think that Enforcer stretch those boundaries slightly furthered than the majority of generic speed/heavy/thrash junkies in a way that they actually feel like a genuine part of the 80's scene (except with less muscular guitar tones). To be sure, the Swedes cultivate a sound that's been processed by bands like RAM, Steelwing, Skullfist, Katana and the like for the last decade or so,and while this by no means serves as a major deviation from their source material, it does give the music a somewhat fresh edge.

The titular opener ''Destroyer'' is easily one of the best songs on the album, with a classy speed/thrash verse riff, a head-pounding chorus as well as a follow-up of excellent thrashy rhythms roving effortlessly, and the second track ''Undying Evil'' is arguably even better, unfolding instantaneously with a harmonious barrage of banshee vocal duties and overall texture that reminds me of songs like ''Midnight Vice'' on ''Diamonds''. There album is also bedecked with a superb slew of frenetic solos, and, if anything, the emulation of melody seems more prominent than anything else in the band's backlog. The title track narrows down the mood to a drowsier, somber, almost ballad-esque flavor, with its misty chorus and luring melody hooks that plod on a slower pace than usual: it's obvious that by now Enforcer is trying to cast a wider net on an overripe niche which they've been plodding for the last 6 years, if not downright experimenting with alienating atmospheres or effects like the most recent offerings by Swedish pros Trial and In Solitude. That said, there's no denying that much of this record is still crafted for a specific demographic - and they're certainly not shamed about it.

Olof's vocals are fiery and youthful as always, and on that I have zero complaints. Enforcer is far too mature and commercially successful at this point to be scrutinized as another vulture feasting on the same diseased carcass, even if most new bands wind up being given more or less similar labels, though didn't tickle my nostalgia as much as ''Diamonds''. One could argue they were trying to 'darken' their sound with slightly more ambitious ambiance (the title track plays some role in this) or the 6-minute finisher ''Mask of Red Death'' which doesn't just add some intuitively Gothic Poe charm into album (especially with its folksy melody licks) but resonates as the moodiest song in the whole platter; but no matter how serious Olof's crew is going to get they're going to be 80's-bound as long as they're still high on track titles like ''Destroyer'', ''Hell Will Follow'' or ''Hungry They Will Come'', and their transition in the same vein as those of Trial and In Solitude is still one which I'm titillating over, if we're ever to witness that transition. Overall, some exceptions, namely the 'Poe' track, but the trencher is generally loaded with dishes straight out of the 80's, big hair, leather, and campy themes for all the geezers out there. It's Enforcer: it's still pretty awesome; headbang away.

Highlights:
Destroyer
Undying Evil
Hell Will Follow

Rating: 75%

Iron Dogs - Free and Wild [2013]

It's always comic to see a band wielding such a cheesy, over-the-top cover art somehow cultivate a far more unique and engrossing sound than a good many of its peers who invest such money and effort into their album covers. Good covers do no necessitate good music; I think we all know that by now. Here's the second moral of the day: never judge a book by its cover. Indeed, a sword-wielding angry wench surrounded by a bunch of heads piled up on wooden stakes does precipitate the most worldly and intriguing of musical machinations, but however much this may be frowned upon, there's no denying that neglecting Iron Dogs' sophomore ''Free and Wild'' is a big mistake. With a wise selection of precursory influences that extend further than simply Maiden and Priest, but with a celerity and liveliness that would make the two gods proud, a pop/rock-variety brevity in the songs, and more melodies stuffed in a mere 28 minutes that so-called ''melodic'' metal bands would dare imbue into their song patterns, ''Free and Wild'' screams out with nostalgic, unabashed bliss.

''Free and Wild'' is such a load of tremendous fun and 80's awesomeness that I can't really state its selling point. Everything shines through. In case you still couldn't get a picture of what the Canadians have in store for you, I'll be as lucid as possible. The album draws strength from a number of concurrent influences freely flaunting with each other; the occasional Maiden, Priest, but there's still more Jag Panzer (think ''Ample Destruction'') than, I daresay, any other retro heavy metal to ever strap on a guitar and mount a drum stool, and I haven't even begun to mention the minuter spectrum of sounds converging in the mix, notably Angel Witch, Exciter, Agent Steel, ''Kill 'em All'' era 'tallica - even tits and bits of Razor flirting with the more rapacious outbursts of tempered energy. Yet in all the colorful palette of influences, creating a true melting pot of traditional heavy metal, (if not an apotheosis of the genre's manifestation) the Canadians somehow dazzle the listener with style of their own. The same way the English Deceptor challenged me to my wits' end with the sheer insurmountable quality of their EP ''Chains of Delusion'', Iron Dogs manage sound as cool as bands did in the past, without being tied down by the past.

Swirling, spiraling flirts of harmonious melodies are reminiscent of Satan's outstanding ''Life Sentence'', but different still. Irreprissible and meretricious, ''Free and Wild'' in the kind of album that refuses to be bound to the ground with chains, and attracts attention with its sheer punch and crudity. The manic, melodious guitar riffs aside, though, vocalist Jo Capitalicide can just as well be the BEST thing this record has to offer. As much as I am a great big guitar nerd myself, a staunch boaster of technicality and blazing guitar solos, Jo's vocals enamored me so much that I could listen to the first 3 seconds of the ending track ''Island of the Dead'' over an over again just to immerse myself in his outstanding voice. No need to elaborate - the man in the resurrection of Harry Conklin of Jag Panzer. Doused in reverb and heedless of ''professional'' vocal values, his inflection kicks nigh-over as many asses as the plodding guitars. Who said heavy/power metal had to be done with a banshee, screaming at the top of his lungs? Jo fits the bill for ''Free and Wild'' more perfectly than I might have conceived, and literally catapults Iron Dogs to the next level of musical excellence.

Any gripes? Only that the record was too fucking short! Given that the whole record clocks at 28 minutes, it's a bit difficult to excavate a huge deal of pleasure with just one spin. ''Free and Wild'' requires more frequent spinning than a dozen or so efforts by the generic retrogressors of the field. For fucks sake, if you can't derive any fun from the maniacal chords and melodies fluttering around the record, nor Jo's vocal delivery, you need to see a doctor, asap. But Iron Dogs are still willing to forgive that. Just open the lyrics to the title track and sing them out; the anthem is so utterly uplifting that it motions involuntary nods even as I'm writing this. Indoor! No more! And for the love of God, if you're still not properly enthralled, you need a serious fix. Sure,''Free and Wild'' may not be the masterpiece of the decade, but its sheer distinction serves as a viable consolidation for the fact, for which I couldn't care less. Enter, but beware of the nude guardian lying in wait. Posers need not apply.

Highlights:
Firebird
Free and Wild
Adversity
Island of the Dead

Rating: 92%

Night Demon - Night Demon [2012]

Night Demon's entry into my extensive compendium of speed/heavy acts to emerge in the 21st century is nothing of a seminal event, but I was nonetheless content, having discovered another band with a solid release to kill a good many minutes. Formed in 2011, our information on the band is fairly limited, with their sole material being their eponymous EP released last year, and my awareness of the band began when I received a promo of the EP that had been reissued by the traditional heavy/doom imprint Shadow Kingdom Records. The Californians offer nothing more than genre-standard heavy metal enmeshed with a dose of speed, imbued with a strong, refined production quality that renders the four brief tracks found on this EP so robust. ''Night Demon'' is composed of roughly equal proportions of Maiden, Priest, Angel Witch, Raven and Saxon, and maintains its muscular exposition sturdily throughout the entirety of the EP without blundering, but it only does so by swaying along the safer borders of traditional heavy metal.

For one, I was actually more absorbed by the cover art and the conceptual preferences more than the music itself, even though I did sometimes lose myself in the wicked, swirling youth of the headbang-friendly riffs. I don't know why, but I certainly found this fantasy-induced concept to be overly attractive, maybe because it explored a somewhat nostalgic and lightweight margin of swords, sorcery, and, obviously, demons, each song delving into a slightly different subdivision of the concept, for instance, ''The Chalice'' had a more medieval, religious vibe to it, with the exception of ''Ancient Evil'' which purely pervaded the listener with Lovecraftian images. That said, there is a surprising amount of variation between each track, with each track, like the lyrical choices, focusing on marginally different breed of garden variety heavy metal. The sound as a whole is professional however, with little or not flaws in the presentation department, and in truth, while this may not be a paragon of speed/heavy metal, I loved the rumbling twists and turns of the guitars with melody swooshing by every now and then, and the entire webbing of riffs was surprisingly complex, brazen, and certainly very catchy.

While this may be for the most part a devout homage to the aforementioned gods, and even Motorhead taking into account the bluesy rage of the guitars and pummeling blasts of the snare on the first and fianl tracks, I did occasionally taste a sprinkling of power metal in its archetypal forms, something redolent of early Fates Warning and Jag Panzer. The vocals are blunt and powerful, nothing overly special, however, when they collide with the backup vocals to harmonize a truly harmonic piece of sound that I thoroughly enjoy is created. Night Demon certainly performed well on this EP, especially since it's their debut offering, but I do think that solely being staunch stalwarts of the art won't quite make them experts in this particular field of heavy metal. There were some subtler, heavier moments that arose with minute precaution into something of a more epic deliverance, like on the chorus of ''The Chalice'' (which I adored), but the Californians need to strew together many more strings to render the web truly inventive and titillating. Night Demon resonate like a faster answer to  their fellow countrymen Visigoth; it's coherent, consistent and quite seamless in its presentation, but lacks an inner essence. Otherwise, it's simple, awesome music for purists. Hail.

Highlights:
Ancient Evil
The Chalice

Rating: 72%

Satan - Life Sentence [2013]

We've had our fair share of reunion bands. Few of them tend to be good. Yes, we were given some truly great releases from a number of bands, the latest Attacker album for instance, but we were also showered with a stream of godawful albums, like the new Rottrevore EP, and even if some recuperating old bands manage to somehow deliver a goody, very few of them are able to bring about the rest of their good material. My point is, bands like Satan don't have much of a shot at re-living the same youthful energy that they exploited during their golden days, and the situation gets even trickier when you're working on a genre like NWOBHM, which today is exhibited to us a rehashing of Maiden, Priest and the like, fused with a more modern framework of disillusioned riffing, so I think you can understand the pressure that Satan had to bear when they first reunited in 2011 and decided to put another album.

The thing that makes heavy metal, and specifically NWOBHM such a strenuous material to process and toy with is that the genre itself is scarce in exemplary offerings besides the few releases that respectfully formed its basis. Satan, with astounding accuracy and dexterity, has managed to overcome both of these hindrances and has ultimately brought us ''Life Sentence'', and let me tell you, unveiling this record is like removing the dust off an obscure-as-fuck demo these guys released in the early 80's, and has already generated sufficient buzz in the metal underground to emerge victorious in numerous end-of-the-year lists. Now, upon reading thus far, a genuine metalhead will be no more than slightly content, I'm sure, and even filled with a bit of trepidation, moaning ''Oh damn, another Maiden rip-off? More Steelwing?? I'm out.'', so brace yourself, because this ain't the generic copycat you'll be expecting. The fact that ''Life Sentence'' is able to emulate any of its peers steel befuddles me. You already knew you were into a hell of comeback with the glorious, old-school logo sticking out in the corner, the spiritual ghoul-demon leaking out of its state of encasement, and this wonderfully picturesque image fit into an archaic, mystifying framework, but no one could have guessed what the five-piece would be able to conjure in less than two years' time.

Satan is hardly thrifty here. They don't spare any of the cannon fodder they've been harnessing for all those weary years, and their techniques reign supreme in every field of musicianship; instead of losing their technical touch, they've gotten even more savvy with their instruments. Secondly, the old school edge is hugely dominant; they've got a skillful penchant for being able to put out material on par with their earlier releases, ultimately succeeding in delivering that clarified NWOBHM texture we've longed to hear, and they can grind their guitars producing riff after riff. That being said, I ought to say that ''Life Satan'' isn't a flurried rush of pure old school instincts; its gleams with an articulate and youthful power that, in my opinion, is the real key to the Englishman's success. They're not stuck in the past, and while still keeping true to their lauded roots, they're brazen and fuse their archaic tenets with dizzying modern, technical dynamics. With their new perspective, a dirty, crunchy tone, and a production that reeks of antiquity, they're able to send stimulating waves of speeding, bleeding riffs with superior melody-directed instincts intertwining with thrashing ruptures. Moreover, nothing seems to be tampering with their outstanding march. Satan are locked and loaded, more flexible than an Olympic gymnast and it seems as though their sheaves of riffing are so prolific that they could effortlessly filter yet a second disc of songs with equally long material, not lacking a single hint of substance and quality.

Though the guitars should be venerated the most here for their terrific performance, harmonious flinging and overall outing of aggression and energy, I need not say that they aren't the sole highlights of the record. You'd certainly love the somber, woven harmony sequences backed with mid-paced thrash ichor on ''Incantations'', or the entwining voids of endless melodies on ''Testimony'', but you'd also have to credit Brian Ross's excellent, earthen timbre for making those tracks the great pieces they are. Ross occasionally plays low (think Danny Foxx of Blood Money with a less frequent usage of high-pitched screams), but he knows when he's going to lead the uproar, and bring songs to their apocalyptic climax when he releases all his steam (''Incantations''). Graeme English's base is also quite entertaining with its pumping, plodding bobs and the drums have that 80's crisp attached to them like an infectious disease, blasting out with spiking accuracy whenever required. With such a backbone of musicians, ''Life Sentence'' converses copiously and explores intensively; you have the vicious melody/rhythm combos of ''Siege Mentality'', the track that piques my interest the most, the classic NWOBHM chug patterns culminating with Ross's flaring vocals on the title track, the thrashing headbanging medley of ''Twenty Five Twenty Five'' or ''Another Universe'' that literally transports you to a different kind of universe with atmospheric presentation of moods galore, and the entire record is bedecked with an enormous quantity of carefully arranged, bouncing leads, spontaneous and laden with a wealth of methods.

''Life Sentence'' will unarguably go down as one of the best releases of the year. It's prowess and viewpoint are unlike any other heavy metal album I've ever heard, and if Satan had released this back when NWOBHM was truly hip and inspiring, back in the early 80's, it would have emerged as one of the greatest heavy metal offerings to date, but even with its late entry into the metal universe, it could easily be classified as a masterpiece, and perhaps the best comeback release ever. So if you love to pick up the newest Enforcer or Maiden albums, you've got nothing better to do than to obtain this immediately. Satan is an inconceivable, sentient beast on this record.

Highlights:
Another Universe
Siege Mentality
Twenty Five Twenty Five
Testimony

Rating: 94%

Enforcer - Death By Fire [2013]

Not only is Enforcer one of the top acts to emerge from the new wave of Swedish heavy metal revival, but they're also the perfect dose of awesome to take in every time you find yourself frustrated in a fit of rage or anytime you feel all the intricacies of modern metal seem like too much of a drivel. I suppose there's no need to state the redundancy of Enforcer's aesthetics; this is not to say I dislike their eager and undoubtedly frivolous confrontation of speed/heavy metal, but I think by now we all know that you need not put too much ambition in songwriting to muster something in Enforcer's kin. As an incessant, suitable continuation of their past efforts, Enforcer at their spurious best; keeping the over cluster of speedy-as-fuck riffs at the ready, and the Swedes obviously have their roots inclined towards Maiden, Priest, Attacker, Saxon, Diamond Head, etc, and their latest endeavor, ''Death By Fire'', which provides with the perfect, unmitigated title for its spasmodic, kinetic energy, another practice if lightweight levity and one-dimensional, but nonetheless crisp 80's heavy/speed/power.

Enforcer are hardly perverse in their attitude - no matter how zealous they are about exhibiting their blatantly lined influences. It's nice to get acquainted with a few bands - including the Swedish RAM, Steelwing, Cauldron, and of course the matter of this subject - that are not directly and unashamedly ripping off their masters but are actually putting some compassion into their mixes, and the Swedes have done more than enough to show their avidity to fully batter the listener into a delightful 80's craze; the clothing fit for a maniacal mosh-dance, the erupting, eager leads that sprout out of nowhere, the unhinged bevy of riffs, and the harmonies vocal outings that help bring a power metal splash upon things, something redolent of, say, Blind Guardian, Running Wild or Riot, even though it's taken to a lesser degree than the hugely pummeling, pulsing speed/heavy influence. Enforcer's sole route of flashing energy and meting out melodies in throughout that congealment of thrashed-up speed metal riffing and they more melodic, more focused moments that brusquely interrupt the combo in a suitable way, much like the fairly complex structural patterns we see in ''Sacrificed''.

Indeed, and unfortunately, Enforcer's focus on the shell is far more prominent than that of the innards which contain the actual substance, so we're left with little more than a cherry to contemplate while through just a smidgen more of work they could achieved a much greater finesse of both infrastructure and actuality. But I was quite grateful that Enforcer could stick to their typical gyrating parameters and were able to deliver what was expected of them, and I felt that they were still above the subpar in terms of ambition. The vocals weren't strained, and in fact quite natural in their blazing ruptures, and riffs were marginally more than solely frivolous, condensing in a froth of both vividness and semi-complexity, sharp enough to successfully find its way through more than a couple of spins, the overall quality of the output is still high considering the sea of aping mosh-maniacs, and the guitar tone here deserves an extra accolade from me; for its beautiful, crystal-clear sound. I can't see how purists won't be worshiping this.

Highlights:

Satan

Mesmerized By Fire

Silent Hour/The Conjugation

Rating: 75%

Witchburner - Bloodthirsty Eyes [2013]

Witchburner are one of the longest living black/thrash groups from Germany out there, riveting quite a bit of attention with their album ''Blood Of The Witches'', and otherwise bearing much experience from the six albums they had prior to their latest offering, ''Bloodthirsty Eyes'' which is harbored by High Roller Records, which have, over time, developed a slight aptitude for hiring savage, uncircumcised black/thrash hybrids such as Hellbringer and Bunker 66, in swiveling contrast to their standard signings of more modern heavy and power. Given the band's rigid and abiding consistence throughout their carrier, expect no more of ''Bloodthirsty Eyes'' than a vicious, competent barrage of blackened Teutonic thrash, undeniably snatching its elements from such giants as Kreator, Sodom or Holy Moses - in all a derivative feast for any thrasher truly hunger for a wild, speed-embraced kick that doesn't require much attention to comprehend.

So derivative, in fact, that this record could be an instant follow up to any of the band's previous discs. Instead of a more brazen outtake that I see certain groups (Ketzer, Denouncement Pyre) slowly morph into, Witchburner is producing a completely one-dimensional, free-for-all excursion with a palette of raw, spurious black/thrash chord flails, gushing about frenetically, and as much as the main vigor comes from the taut Teutonic thrash inclinations, there's also a somewhat evil undercurrent that reminds me of darker acts; Aura Noir, Nocturnal Breed and Destroyer 666 to name a few. The band's all-out fashioned exhibition of aggression is menacing enough, with crunchy, gut-ripping guitar dominating nearly the entire space left to clash and bash, but hell, even when you know this is one of those records whose worth is hardly more than a couple of spins, the absolutely unending wash of clamorous guitars and generic speed/thrash riffing just bores you; and I'd actually go as far to say that from the hundred grapples this record spurted upon me, no more than ten ending up being actually clinging to my ear.

This is not to say that ''Bloodthirsty Eyes'' is a bad record, only, I've certainly beheld a myriad of voluptuous incursions akin to it. And if truth be told, who hasn't? I'd like to consider this as a continuation of the band's long-running career, as another product from the oldfactory that goes by the book - the Witchburner book - but for the entire time, not only here but in their whole discography, the Germans are merely putting their own consistent endeavors into the music; they're just borrowing what's already been produced prolifically. Thankfully, the vocals here, as much as they're clear-cut like the arsenal of riffs, have a horrendously compelling feel to them, as if somehow, by excluding the underpinning of axing I could delve into wholly dark ambiance that falls into a quagmire of a position between the recent Antichrist (Swe), Hellbringer and Exumer. ''Bloodthirsty Eyes'' is still strictly pure enough to pummel and crack your bones within seconds, raw, intimate and plentiful in vile aggression, but as I've gone through numerous times before, it needs that marginal displacement in cursor in order to attain some variation, which this album is in desperate need for.

Highlights:
Path Of The Sinner
Sermon Of Profanity
Never Surrender

Rating:  68%

Evil Army - I, Commander [2013]

I'm actually quite surprised how Evil Army's self titled debut didn't blow off the roof for avid thrashers; it was certainly one of the first records that initiated the retro-thrash movement by being released in 2006, back when Warbringer was still desperately in search of a label, and besides, it was a relatively fun experience to be had, with its maelstrom of nailing speed/thrash confrontations swiping you off the ground with old school-drenched craze. Probably due to the little publicity they attained through their feral debut, the band stayed pretty stable though the next six years, but in an abrupt rush, the group sings with Hell's Headbangers, one of the best possible harbors for unadulterated grime-soaked punk thrashers such as themselves, and they give us this little EP, ''I, Commander'', a smidgen of taste extracted from a potential sophomore from the same label, and, well, Evil Army is exactly what Evil Army was years ago, so don't get your hopes too high for this one.

Perhaps ''I, Commander'' is one of the more purely biased thrash releases out there today, and it's probably a big ''fuck you'' in the face of the massing party thrasher hordes, but in all honesty it does not provide anything vital, not even for the most fervent of thrashers. I'd say the band's real bulk of influences are tied to their obsession with the mid-late 80's speed/thrash dominants of the East Coast, but they also possess a wild lewdness that should rivet the attention of early Kreator and Sodom fans, and thankfully, Evil Army, while still failing to circumvent redundancy, sustains a good amount of professionalism through the mastering hands of thrash maven Joel Grind of Toxic Holocaust, who has successfully blended a cavorting gush of unhinged speed/thrash riffs with a vile Teutonic truculence. One more appeal the EP should have is its demo authenticity. Lower the distortion to a more tinny and even more unforgiving volume and you've practically got yourself a lost gem from the States circa 1986-1988.

The band's progression is as you may expect; they converse each track with a mouthful of loathing, carnal ammunition, decrepit drum beats pulsing from behind, a fairly audible bass that only bobs along to the momentum, and the vocalist's throaty inflection that could only be ripped from usual German suspects, and they end each of the three tracks the same way the commence them. They've even put some swerving whammy-oriented leads here and there, but in all, their main focus remains unchanged. These are just a bunch of vandals who strip thrash from all of its adornments, leaving it only with the dry, residual sustenance that keeps it alive, and then play the riffs exactly by the book, which means chock loads grinding, frenetic riffing after riffing, leather, boots and bullet belts ahoy. There's nothing wrong about this, you can be sure of that, but unless you're desperately floundering for another kick of nostalgia, I think modern multi-faceted thrashers such as Vektor, Hexen or Immaculate are more likely to captivate you. Certainly a solid 8 minutes of run-time, but nothing too convincing if you're all too well acquainted with acts like Toxic Holocaust, Children Of Technology, Fueled By Fire, Speedwolf, etc.

Highlights:
I, Commander
I Must Destroy You

Rating: 70%

Deceptor - Chains Of Delusion [2013]

In an astonishing turn of events, what I anticipated as another potential tumor in the myriad of retro heavy/thrash metal groups turned out to be a compulsory magnet of innovative, old school excellence that exceeded any of my previous opinions on the matter. How could I have known, that amid a trampling stockpile of promos, it would be Shadow Kingdom's delivery, Deceptor's sophomore EP ''Chains Of Delusion'' that perfectly fit the maniacally inclined, wondrously imbued textures that I had been searching for so long, but never acquired, yet, what makes up this a work of sheer old-minded genius is its climatic, glimmering sheen of imagination; hardly has a band ever bestirred interpretations of both traditional, thrash, speed and a classical brand of death metal akin to the latest Deceased, and successfully concluded their industrious formula bu enhancing the basis with ingenious riffing, as if the entire thing was the product of pang in the mind of a mad scientist who wished to saturate the demands of die-hards of all the aforementioned genres within a single concession.

Deceptor's body work on ''Chains Of Delusion'' is hardly what you'd call an immensely lengthy epic, but with the two ambient sounds tracks excluded, we're left with four tracks, each arriving from their own biomes, spewing forth their own distinctive elements, almost as if they had nothing to with each other. But everywhere you go, you'll vibrantly feel the band's own engrossment of texture and semi-technical riffs, which is what makes the whole EP so magical. Simply said, ''Chains Of Delusion'' is an effigy for the 80's. The entire aura is earthen as the drums, the bass and the guitar work all have roughly equal spaces in the mix, and Sam Mackertich's vocals are as divergent as the riffs, shifting from harmonious power metal chants to harsher death/thrash growls, and then to Schmier-like shrieks that echo through the ears of a Destruction fan like delicious nostalgia. His vocal inflection is just as brilliant as the guitars, and simply bears some of the most combustive vocal electricity I've heard is some time.

The tone is perfectly crisp, as if you're tasting a perfectly well-cooked steak through your headphones; it's wonderfully authentic, something in between ''Peace Sells...'' and ''Rust In Peace'', but far more belligerent and ravenous, eager to sink its caustic raw of teeth into the skull of its crazed mentor. Like the vocals, you never know what the guitars are likely to switch into. One moment you're lost through a matrix of technicality, then a NWOBHM-styled gallop bounces into action, and just seconds later you're driven into cavorting speed/thrash convulsions that jive equally as well to the vocalist's Bruce Dickinson complexes as they do the much more psychotic growls of his schizoid side. There are just so many twists and turns on the EP that it's nearly impossible not to be befuddled by the musical tenacity of the trio. Take the bumping, melodious bass of ''To Know Infinity'', the assailing bullet-like chug storm of ''Heatseeker'', ''Sentient Shackles' '' technical momentum and the indulgent, foreboding onslaught of ''Oblivion's Call'', put in a few mechanized voices, and you practically have exemplary of modern sci-fi induced thrash metal.

''Chains Of Delusion'' is damn near phenomenal. I could only gape at the narrow-mindedness of thrasher who would rather get drunk over an orgy of Warbringer songs, and not give much of a fuck about the gyrating genius of this. I think it's about time somebody cracked these damnable chains and let the metal world know of their new master thrasher, because with ''Chains Of Delusion'', Deceptor have certainly earned that title, yet one must now forget that this is so much more than the polished, originality-free modernity everyone seems to be endlessly craving these days as a vague remembrance to the good old days, but those who really wish to be submerged in 80's retro energy - fear not - for your new captor has arrived. If you're one of those people, you have no excuse not to pre-order this right now, even if there's a procrastinated apocalypse just outside of your city.

Highlights:
Everything

Rating: 91%

Children Of Technology - Mayhemic Speed Anarchy [2012]

Italian speed freaks Children Of Technology have already buried themselves into the consciousnesses of voluptuous crossover enthusiasts with their 2010 debut which was highly, highly redolent of punk, thrash, grime, denim, and though relatively new to scene, they deserve some applause for the considerate punk, hardcore and thrash choices, exclusively injecting old school energy into their overt amalgamations. It's own simple sphere of influence, ''It's Time To Face The Doomsday'' was a vigorous assault of near-clamorous motorcycle frenzy and explosive outings of punk and hardcore fundamentals, and now they've decided to once again cope with their mass provider of motorcycles, Hell's Headbangers, a two-track EP being their latest penning. Despite the excitement fervent listeners will have over this, there's no need to exaggerate the fact that the motorized punks are going for standard procedure here; chaos, annihilation, and of course, motorbikes aplenty.

I say aplenty, but in truth, there's not much material here, nor would you expect anyone to cram layers and layers of buttering crossover/punk/thrash into a spurious little CD of six minutes. Children Of Technology are, as I stated, applying basic, robotized pressure on their fans with gushing frivolous and downtrodden punk dives and pumping hardcore beats, keeping the fuel burning throughout the almost ludicrous six minutes of run time. The Italians, however dominant over their moshing minions, are not really letting the eclectic listener get anything else than distorted nostalgia: they've got a rumbling bass line line sometimes crashes into the spotlight right before its fellow proponents arrive and take control of the whole stage with unhinged aggression, the drums have take much less space in the mix than the guitars, occasionally going for some perky cymbal abuse after exhausting sessions of one-dimensional blast beats, and the guitars are caked with dirt, the same way it was on the debut, conjuring crunchy and eager crossover pursuits that fit the drum rhythms perfectly in their own simpleminded sense.

You've got to accept that no matter how long these Italians are going to stay in the music business they're always going to be tied to the same aesthetic with crude leather belts, and even though their love for everything old school and everything vigorous and punk makes goosebumps perk on my skin, they're not going to be able deliver anything truly special for fans who like things nuanced now and then. Perhaps my favorite performance was the vocals, reeking of ''Sheepdog'' Mclaren of early Razor, Cro-Mags and perhaps even DRI, lashing out contemptuously shrill high-pitched shrieks to boast their crazed, anarchic cause. Anyone in desperate need of straightforward-as-fuck, broiling old school crossover should throw himself/herself right at this, but then again the debut would serve the same purpose with better overall efficiency, and that's what renders ''Mayhemic Speed Anarchy'' so simple - the only thing that won't be expunged from the listener's memory fifteen minutes after discourse is the cover art, barely memorable itself.

Highlights:
Computer World
Mayhemic Speed Anarchy

Rating: 72%

Striker - Armed To The Teeth

The amount of new bands who are channeling the Gods that bestowed heavy metal upon us don't seem to be stopping anytime soon, and I am absolutely fine with that. For every handful of newer acts that tread along the same mediocre path, there is another band taking the high road and releasing quality music. Bands like White Wizzard, Cauldron, In Solitude, Trial and Enforcer have all ushered in a new era of the '80s heavy metal sound with their brilliant releases, and now Striker is looking to join the upper ranks of today's scene after releasing their second full-length "Armed to the Teeth," ten songs full of soaring vocals, heavy riffs, stellar melodies and solos, and a large dose of fuck you, old-school rock n' roll attitude that has been missing from a lot of today's acts who focus on sounding occult or epic.

Much like most of today's newer traditional metal bands, the majority of riffs and other rhythm instruments just aren't too significant as far as the memorability of each track goes when standing on their own. Most of the riffs gravitate towards typical midpaced riffs and the occasional thrashy, speed metal type riff, but I don't recall many of the riffs themselves, but that's not really a problem given the rest of the band's efforts. Dan Cleary's vocals are one of the major highlights on this record, and a major reason why "Armed to the Teeth" possesses any sort of memorability. Not only are his vocals soothing and pleasant to listen to, but they mesh with the riffs and everything else effortlessly and they make the rest of the music better. Cleary's performance and delivery also allows for the music to resonate in the listener's skull, as he can wail away and hit high notes, sing beautifully with the melodies or put on a total rocker front which gives the music an awesome Scorpions or Judas Priest kind of feel, while Striker forges on with their own sound simultaneously.

Unlike a lot of the riffs, the melodies and solos found throughout this record are entirely amazing. "Fight For Your Life" and "Feed My Fire" both retain such a high amount of replay ability because the guitar duo's use of melodies serve as the ideal backdrop for Cleary's vocals to come in and ingrain the music in the listener's brain. "It Could Be Worse" is an infectious track that is sure to be a live favorite with its catchy rock n' roll influenced riffs and very air-guitar-worthy solos. After a few listens to "Armed to the Teeth" it's no surprise as to why Striker is gaining a lot of momentum in today's scene, as this album is exactly the kind of game-changer that can propel these Canadians to a higher level. If you're a fan of any of today's better newer traditional metal acts (Cauldron and White Wizzard in particular) then there should be zero hesitation in checking these guys out, and even if you don't, it still won't be enough to stop the rush...

Highlights:
"It Could Be Worse"
"Fight For Your Life"
"Feed My Fire"

Rating: 86%

Originally written for Skull Fracturing Metal Zine.

Hellbringer - Dominion Of Darkness

One of the few countries who can conjure such massive hordes of quality bands that can compete with Sweden or the States is undeniably Australia, and their vitriolic compendium enlarges every single day it seems, and the latest of the profane abominations to manifest vile material is Hellbringer. Now, this three-piece is not actually the newest act to hail from Australia (though they are quite young), but their debut album ''Dominion Of Darkness'' is good enough to cause hellish barks and immense quakes in the black/thrash kingdom, and after Antichrist's brilliant ''Forbidden World'', this is probably the finest speed/black/thrash hybrid the last three-four years have to offer, meaning that I know have such a burning, profound flame of passion in me that I don't think I'll get jaded about these aesthetics for a long time.

Hellbringer are probably nothing new who has the slightest idea about the primal speed/thrash churnings today, but fuck you, everything has already been copied and repeated countless times and so far you haven't scoffed at any of those plagued trends, so why get agitated by this one? Of course, there are few more reasons why to like ''Dominion Of Darkness'' besides its penchant for deliberately exhaling brilliantly manifested incursions of voluptuous, darkened anger. Remember the Antichrist comparison I made above? Well, I must confide that the resemblance is not entirely accurate, but aesthetically you'll still be able to find a good deal of things similar to ''Forbidden World''. ''Dominion Of Darkness'  inclination is towards the thrash oriented side of things, like Abigail or Barbatos with a wild Australian trace of bestiality, but unlike some of its contemporaries, Hellbringer loves embellishing the speedy, hellish incandescence with a sulfuric dose of crazed Teutonic energy, bringing vivid images of of a devil-possessed early Kreator or Sodom to mind every time you hear vicious riffing.

Hellbringer's diabolic competence shows of every flash of the album. Hellbringer are not building for a culminating finale, they're not delivering splendidly shrewd black/thrash, not are they massing their purgatorial conflagrations to erupt into one tumultuous rupture, they're simply effortlessly channeling throughout the territories of metal that they know best and frankly excel at, and they don't flounder for a second, they don't run out of fuel for the fire - they pierce through whatever hindrances stand in their way as if clawing through a stockpile of disabling blots around the ear, delivering contemptuous, vitriolic and visceral bliss. There isn't even much variation throughout the tracks, but somehow, the furnace never lacks for fire, and with the rancorous screams of the vocalist added to the dark aura, ''Dominion Of Darkness' reverb-ridden atmosphere becomes an unholy ear candy for all those who love their ferocious Aussie black/thrash. There is absolutely no possible way a thrasher or fan of bestial blackened metal can reject this. It's not my favorite metal album of the year, however, it is certainly the best of its field I have come across so far.

Highlights:
Dominion Of Darkness
Deceiver's Chamber
Hellbringer
The Rites Of Evil

Rating: 88%

Razorwyre - Another Dimension

New Zealand’s Razorwyre are yet another group retro of traditional heavy metal musicians, an exuberant quintet who are not afraid to demonstrate the classic clichés of the genre, often exposing their fiery fervour for old school metal with vivacious channels, choppy, percussive rhythms, soulful vocal delivery and speedy speed/thrash tremolo slashes, proving to be a band that devote themselves to the old school term entirely. Much like today’s modern power metal acts, the band likes to magnify the presence of the meat of the guitar with loud, bashing amplifications, and by penning semi-complex compositions, genuinely short and efficient. The number of retro heavy metal outfits are growing prodigious, and while scoffing may seem like a reasonable action to many who’ve suffered the fashioned trends numerous times, it’s best that you stop complaining about it, and just enjoy the music, as Razorwyre are thriving the swing of genre even further.

‘’Another Dimension’’ is the debut album and sole release by the band, but the band’s humbler version, Gaywyre (what a pleasant moniker) had a nice little power/thrash output named ‘’Coming Out’’. The band has not been around for a substantial amount of time, but their efficiency, their punchy grooves and rhythms are far superior to the primal releases of the band’s contemporaries, and although the material the band gouges out is not entirely sufficient to curve towards a more innovative nature, blatant influences such as Maiden, Priest, Dio, Helloween, interact with other speed/thrash clichés, and the influences are dispersed sparsely, and you’re left with eleven tracks that are redolent of something else each. Old school dominates the whole atmosphere, but it’s clear that the band gets a lot of help from the benefits of technology of the modern era.

While still being generally aggressive, Razorwyre gives plenty of room to more soulful, sombre manifestations of emotion, and they veil it in the deepness of the vocals, and such an overtone is occasionally spewed forth, showing prominence on track s like ‘’Hangman’s Noose’’. Of course, the album obviously embraces velocity and hooking riffs over depressive mourns. A surprisingly wide spectrum of variation awaits you in the album, some of the most sordid, raw manifestations being jumpy speed/thrash catharsises like ‘’Knight Of Fire’’ or ‘’Desert Inferno’’, while ‘’Nightblade’’ or Wind Caller’’ principally espouse a lighter sound, soaring vocals underpinning the catchy plate of heavy/power hooks, but all in all, all the songs take you towards the same crater, only dragging you through different paths. Razorwyre’s material is easily one of the classier speed/thrash/power/heavy gimmicks around, and albeit it’s all stuff I’ve heard before, I can’t help but vigorously bob my head to its frivolous and predictable excursions. 

Highlights:

Knights Of Fire

Desert Inferno 

The Fort

Rating: 85%

Outre - Tomb

Outre are a band which hail from Canada, playing a brand of pretty simplistic raw speed/thrash. I wouldn’t call their style numerously repeated, or gimmicked, but considering there much more arduously constructed songs out there, they fall short of original, nonetheless, they still deliver a bristly covered slab of solid old school speed/thrash, hinted with some hardcore punk madness.

Yes, Outre’s demo ‘’Tomb’’ is vociferous, raw and inept in technical skill. Fortunately, though, such an endowment is not the intention of the demo, therefore, you’re left alone with thirteen minutes of punkishly raw speed/thrash, nothing else. Warsenal, another Canadian band which left us with a catchy demo, offered a better demo than Outre if truth be told, although they played a similar branch of speed/thrash. Outre draws heavy influences from the early thrash/punk, but the thick, sparse guitar tone enables the riffs just a pinch heavier.

The riffs are savage and they’re not meagre, rather prolific actually. They’re simple, though, usually crusty chugs and meandering chord progressions, but they’re webbed together with strong links and joints that establish a robust structure, which is more than I could ask for. But although it’s savage revulsions will gravitate people towards it, but riffs suffer from occasional inaudibility, caused most likely by the unnecessary amount distortion that the tone is doused with. The vocals are punk driven as well, savage and rough barks, but like the riffs they tend to suffer casualties from their lack of spike and enlightenment.

‘’Tomb’’ is not at all a bad demo, only a very raw one. It bares the materials needed construct a far more intense and pummelling force of punk oriented speed/thrash that could augment into a thorn far deadlier, and far more substantial. Outre will need to endeavour in order to achieve that sound, and they will need time to make their raw material more credible. We shall wait and see.

Highlights:

Commando

Les Chiens De Tindalos

Rating: 72%

Xpulsion - War Is Imminent

Thrash  has been gimmicked and manipulated so many times that at times I find it hard to separate each band from each other, and even worse, I’m pretty sure what the ‘’Old school thrash’’ sounded like, that was, until Belgium’s most latter brigands knocked against my door. Belgium was a chest full of treasures in the past, housing great old school acts like Patriarch, Target, Cyclone and Yosh, but let us put all those aside, for Xpulsion sound nothing like their forefathers and fellow countryman, driving their crusty edge towards the classic Bay Area sound with a tinge of vicious 80’s speed/thrash, and their demo, ‘’War Is Imminent’’ bears for tracks encrusted of atomic aggression and sordid chugging, nothing more, nothing less.

I’m actually quite content with the ‘’old school’ worshiping done here, because melodic and modern thrash is becoming an increasingly popular trend these days, and one which just does not boast the family name. Technical/progressive elements have been scattered throughout the majority of the scene forcing them to slowly bend their knee to it, omitting the rigorous and sordid sound of the 80’s and early 90’s, and even when a band can join gritty guitar tones with propulsive, interactive textures, the execution is not done properly for the most part, and the experiment finalizes itself miserably once again. The number of thrash bands who take their job seriously have also diminished rapidly over the years, and so, many of the acts sew old school traits together are obsessed with beer and party, resulting in yet another fail. Xpulsion, however, sound surprisingly solid and crunchy for one that looks exactly like its peers, but looking down, with only a few minor tweaks and adjustments, the frantic spectrum of riffs expand into a much more versatile and savage nature,  disentangling itself from the cheesy roots it was once plagued with.

Honestly, it’s not an arduous job to carve out these riffs, because they lack for originality and the song writing process obviously did not take too long, but there’s a really propulsive spray of callous riffs, sharp and fresh, so you really can’t go wrong with these four songs. Influences are blatant as well, as the band hints the massive Exodus and Slayer influences quite frequently, but while you indulge yourself into the record, you’ll also notice a nice speed/thrash touch, forcing the album to sometimes take angular, sharp turns and twists. The four songs are packed with such massive and piercing riffs, but what surprised me is that the songs rang at over five minutes each, with two of them pending at eight minutes. This demo is fresh and dynamic, constant and shattering, and it sticks to the ‘’old school’’ sound of thrash (which is a notion I find queer), and while it’s devoid of the technical prowess that it requires to reach another level, it’ll punch through your skull with ease.

Highlights:

Anaconda Plan

Welcome To Yourself

Rating: 82,5%

Skelator - Agents Of Power

With a few twists and a warmer, more inviting production quality, Skelator's ''Agents Of Power'' could be a considerable alternative to the ample wave of Swedish traditional heavy metal bands, injecting a healthy dose thrashy speed metal and the epic atmosphere of power metal. Musically, Skelator resemble the mish mash of many bands, linked together in some way. Manowar, Manilla Road, Iron Maiden, and even some 70's Judas Priest worship, blatant in the spiking vivacity of certain riffs. Skelator also adopt a certain theme, apparently fantastic themes (whom I'm not familiar with) that enhance the whole ''Enchanting'' effect of power metal. There are moments where you'll notice the cheesiness of USPM with a slightly more serious touch, but all in all these are the influences and elements that ''Agents Of Power'' deal with, and thus, simplistic elements and aspects are brought together, dotted with original spices and then presented to the listener, plain but memorable.

Melodious leads usually guide the riffs along, as they are inviting and even slightly hefty and chubby, rendering the distortion less effective, but grooving gallops and thrashy chugs also burst in frequently, so the listener is left in between, harmonious melodies and plainer, rougher textures of thrash-driven riffs, which have a cool, almost cavernous resonance to them. Skelator are certainly not trying to be incredibly vigorous or spiking all the time here, but the first couple of tracks are usually dominated by more dynamic sequences with the vocalist attaining a high-pitched voice and the guitars often channeling between harmony laden, semi technical riffs and harsher chords. The vocals shift into different styles in different moments, for example, they make take on a more alluring tone during mellow passages or soft interludes, or a rather evil grin like on certain intros, or during instrumental breaks, where they vilely chuckle. There's actually plenty of contrast on the album if you listen carefully, but they're all chained to the same root.

The first two tracks, the title song and ''Gates Of Thorbadin'' are almost fully attached to boundless energy, but with ''Dream Dictator'' which ranges at over six minutes, a speed limit restrains substantial liveliness and boredom may strike here and there, though overall it's a decent track, and not mention that the verse section sounds like an almost exact copy of Jag Panzer's ''Cardiac Arrest'', only richer in melodies. ''Agents Of Power'' is polished and squeaky clean, forming a natural basis for the upcoming array of riffs from the start. I really had little to complain about, even though sometimes breaks lingered for too long and the whole album in total may not be extremely original, but with an impressive gathering of speed, power and heavy metal, Skelator both embrace the old school feel and execute ripe, delicate music almost perfectly so there you have it, something to both give you goosebumps and to accompany you to a good night's sleep. It's mature, fertile and its an impressive combination of speed, melody and good musicianship, so fans ought to watch out, this dynamite may bloom into a global epic speed/heavy explosion.

Highlights:
Agents Of Power
Rhythm Of The Chain
Gates Of Thorbadin


Rating: 83,5%

Gatekrashör - Fear Of Attack

Ever get bored of the oppressive heft of atmospheric bands, or the devastating hammers that keep crushing your skull? Ever want something a little different? If you're up for something dynamic, fresh and extremely catchy, then I've got your answer right on my fingertips. Gatekrashör's new Ep ''Fear Of Attack'' is some 80's speed/thrash metal worship done right. As the current scene is being plagued by numerous bands that repeat the same style over and over, it's becoming increasingly difficult to find something that's actually original or enjoyable and easy to listen to. Bands are putting so much effort on the sheer intricacy of their music that they immediately forget that producing catchy, light and simple material is also crucial while writing compositions. Fortunately, bands like Gate Krashör, Infiltrator and Witchtrap are eager to bring pain to our necks by offering some top notch speed metal, the old school way.

Gate Krashör's frenzied incursion of lightweight speed/thrash is no stranger to the old school sound, and you probably aren't such a stranger to their sound, but by adding some lucid twists and sharp turns, they manage to bend their brand of metal for the perfect measure, rendering themselves to sound very comprehensible, yet ridiculously pleasuring and original. All The typical traits of speed metal are here, with a hint of that old school thrash metal evil put in.The first track ''Blastwave'' stands back for its first minute or two, right before exploding into a frantic speed metal assault, with bluesy chords and gallops, swiping the listener away into an undeniable headbang fest right away. The riffs may actually seem slightly muffled and cracked, but that's their charm as the production also offers the same shattered quality in order to boast the whole ''old school'' effect, which works perfectly.

I'm surprisingly content with the vocal delivery, because the vocalist doesn't tend to scream his lungs out, but he actually keeps his voice low with a few evil rasps coming and going with little frequency. The drums usually don't display anything worth bragging about, but I especially liked the beats on this Ep. They're clear, almost as audible as the guitars, and the drummer can really manage to create to amazing fills and attacks that work with ease alongside the galloping, groovy riffs. The riffs are usually all that you'd expect, straightforward tremolo pickings and galloping chugs, but they never cease to entertain me, and they're even flourished with sporadic technical fragments. Gatekrashör are for any kind of people, people who envy the 80's speed/thrash sound, people who love their speed metal, or people who're basically looking for something dynamic and spiking. If you too are on a quest to achieve similar goals, then Gatekrashör's ''Fear Of Attack'' Ep should be your premier destination.

Highlights:
Speed Metal Hammer
Blastwave


Rating: 84,5%

Warsenal-DEMO

Warsenal are a very little down speed/thrash outfit hailing from Canada. This just sets the starting line for these young speed/thrashers, although I have a feeling their status will increase quickly within just a few years. This demo contains three songs, and the songs bring a small variety of fun elements to the table and Warsenal puts up a really decent effort from head to toe. The music is ridicolously catchy, and certain attributes such as classic speed/thrash, early Kreator or ''Kill 'em All'' era Metallica spawn viciously from every single riff.

Okay, obviously in such a concise piece of music, you would naturally have pretty simple influences and base structures, and that's how this demo plays. Sure, this is stuff that would have been praised more for its originality and catchiness in the early 80's, but good thrash is in such a bad condition that sometimes listening to a thrash like this makes me feel like I'm listening to my mandatory early thrash records. The riffs are damn simple, but they'll get you headbanging within moments. Occasional group shouts add some spice and freshness to the music, giving vigorous accents to emphasize the already catchy chorusses. The huge ''Kill 'em All'' influenced riffs are absoluetely vicious and crunchy even though the music in general isn't what you would call ''brutal''. The energy is there and its supported by the Millie Petrozza-esque vocals and concise drumming. The demo is an excellent textbook example of catchy, vivacious 80's speed/thrash nothing more, nothing less.

This extremely short demo offers little but offers it in the best way possible. Nothing technical here as the riffs are all perfectly comphrehensible yet the simplicity only boasts the quality of the demo. There are certain influences besides the ones that I have listed although they're vaguely unnoticeable. In conclusion, Warsenal have tapped on my memory and now I have a sudden urge to listen to my old school speed/thrash classics, early Razor in particular since they're fellow countrymen. If these guys release an album soon, be damn sure to get it if you're into recent acts like Withctrap, Midnight or Deathhammer, because it could even compete with those.

Highlight:
Hit n' Run

Rating: 83%

Follow the arsenal from Facebook: http://www.facebook.com/#!/pages/Warsenal/196923933740666

Deathhammer-Onward To The Pits

While their debut remains as just another example of simplistic retro-thrash metal, Deathhammers sophomore album is a crushing monster that certainly runs in front line for the best thrash albums of the year. Deathhammer have achieved maturity and have produced a straightforward album with an evil feel to it. No bullshit, just vengeful thrash attacks played in really aggressive way. I can't say that this is the most old school sounding thrash album out there, but I am not at all complaining about that. Deathhammer have succesfully managed to eject a healthy dose of evil (a black metal edge), to their vocals and produced a prime thrash record.


As much as this record is vicious, it is also a great blend of old school speed, thrash and black metal, creating something that is fairly unique and quite energetic. This in many ways is similar to early Sodom and Kreator. The songs are fun yet totally outrageous and that alone is a factor that can pull the listener into the music. The riffs are thunderous and rapidly progress along with frequent blast beats that allow the songs to flow viscously and with ease. Deathhammer have managed to sound evil and catchy at the same time, much like recent black/heavy metaller ''Midnight'', only perhaps a little faster and thrashier. Deathhammer was able to put together a few things which quite doesen't ryme together, but despite that this record is a frantic assault of razor sharp riffage, simple yet effective and also equally old-school and evil sounding.

The cathiness of the music comes from the bluesy riffs and funky solo attitude. The tremolo-chord hybrid riffs along with the sinister black-esque vocals sum up to create a fast-paced mash up of notes and a barrage of pounding drum beats. The riffs are almost always furiuos and malevolantly fast, witha more heavy metal feel to it rather than thrash really. The song ''Emperor of Sin'' shows something quite the opposite though. It is not as straightforward or fun as the the other tracks and follow a more darkened tone in general. There are even certain doomy sections in the album to create a whole different atmosphere than the standard neck-spilitting vicious speed metal one. In this track the black metal edge of the album takes over and totally engulfs the album within a black cloak of a more complex and evil sound. The album worships well-known proto black metal acts such as Venom, Bathory and early Sodom. Though perhaps not as sordid of hefty in terms of riffage, the record has a high resemblance of the aformentioned lengends.

The vocals on this album are slightly muffled and can reach very high notes quite easily. The high-pitched and black metal influenced vocals delivery is a great spice to add to the mixture because it helps sustain a large amount of energy whenever the instrumental section starts to get repetetive, which by the way scarcely happens. The only noticible black metal influence is perhaps the vocals, because besides them, the album is pretty much plain, fast and fierce speed metal. Now the preoduction is also a nice touch, as it has a sort of old school vibe, though still managing to sound clean and audiable. The intro riff on ''Army of Death'' is like direct Venom riff because it has so much old school in it. The whole album in general may seem repetetive and similar as it progresses, but surprisingly it is able hold the level of dynamicism at a very high level. A level high enough to make a metalhead bang his head for nearly forty minutes.

At the end, I was very pleased with the results I had: Speed, evil and cathiness all in one cup, blended in a succesful way. If Deathhammer keeps this up, they might aswel get better and better with each record. While many bands sound brutally monstrous, they fail to achieve what Deathhammer have achived-fast paced music that vener ceases to entertain you. ''Onward To The Pits'' is fun, frenzied and also a great old-school speed/thrash hybrid with some unexpected influences thrown in aswel. If you dig Sodom, Midnight, Bathory, Venom, Kreator or Insinnerator then this is your thing.

Highlights:
Fullmoon Sorcery
Voodoo Rites
Emperor Of Sin
Seduced By The Flames

Rating: 89%

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