ALBUM REVIEW: Accept, “Symphonic Terror: Live at Wacken 2017”

By: Richard Maw

Album Type: Full Length

Date Released: 23/11/2018

Label: Nuclear Blast

 

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining.  The album represents a unique performance and demonstrates a band at the top of their game

 

“Symphonic Terror: Live at Wacken 2017” CD//DD//LP track listing:

CD 1:
1. Die by the Sword
2. Restless and Wild
3. Koolaid
4. Pandemic
5. Final Journey
6. Night on Bald Mountain
7. Scherzo
8. Romeo and Juliet
9. Pathétique
10. Double Cello Concerto in G Minor
11. Symphony NO. 40 inG Minor

CD 2:
1. Princess of the Dawn
2. Stalingrad
3. Dark Side of My Heart
4. Breaker
5. Shadow Soldiers
6. Dying Breed
7. Fast as a Shark
8. Metal Heart
9. Teutonic Terror
10. Balls to the Wall

The Review:

Accept, as of last week, are now down to one original member- Wolf Hoffman. However, for this unique 2017 concert at Wacken, Peter Baltes was still there on bass- even if Hermann Frank had departed as rhythm guitarist. As has been documented in past reviews, I feel that Mark Tornillo is every bit as good as Udo Dirkschneider and he has now headed up the band for ten years. As the title suggests, this is a full live gig with a difference- the central portion of the performance marries Acceptup with a symphony orchestra- which then stays for the latter half of the gig! The first section of the release is a straight ahead metal performance, the middle section features Hoffman with orchestra- utilising his “Headbangers Symphony” solo album as the basis- and the latter half of the record treats the audience to classic Accept songs accompanied by the orchestra.

So, how essential is this? Well, not essential at all. It's a live album with an orchestra attached to two thirds of it. However, that view may be doing this record a disservice. To be sure, the central section is very stirring indeed and is actually successful in combining metal with classical. Its leagues ahead of Metallica's“S & M” effort of nearly 20 (!?) years ago and much more interesting than Deep Purple's misfiring “Concerto for Group and Orchestra”. The latter part of the release is also an interesting experiment- but much more in the vein of Metallica'saforementioned effort.

I could not claim that “Princess of the Dawn” is enhanced by the presence of the orchestra, beyond it being... different and more grandiose. The band wisely chose some of its more theatrical and grand material for the latter half of the gig and it is a thrill to hear “Stalingrad” with classical backing. I think the thing here is that if you like Accept, you will like this record.

I love Acceptand they are one of the best live bands I have ever seen. Hearing their songs with a new twist is interesting and a diverting listen. Will this take over on regular rotation from the superb “Restless and Live” record from a year or two back? No. While “Symphonic Terror” does boast the chance to hear some of the tracks from “The Rise of Chaos” in a live setting it is too much of an oddity to usurp a straight ahead live record.

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining. The central orchestral section really works and is testament to Hoffman's ability as a writer and player that it sounds so grand and cinematic. The album represents a unique performance and demonstrates a band at the top of their game. Having released a straight ahead live compendium recently, the band can play around with its sound and put out this album- why not? Recommended to all Accept fans and fans of classical music. For those new to the band, start elsewhere.

“Symphonic Terror: Live At Wacken 2017” is available now



Band info: official || facebook

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Dead Quiet (Vancouver, British Columbia)

By: Mark Tremblay

Album Type: Full Length

Date Released: 03/11/2017

Label: Artoffact Records

All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

“Grand Rites” CD//DD//LP track listing:

1). Moon Curser

2). Blood Lovers

3). Corpse Revival

4). Disgraced

5). Fucking Oath

6). Dear Demon

7). Old Hopeless

8). Spiritual Abuse

9). Grand Rites

The Review:

Dead Quiet’s second full length “Grand Rites” sees the band fully forming their blend of classic rock and stoner metal. What was merely a nod on their self titled release is now fully integrated on “Grand Rites”.  For band leader Kevin Keegan, this is his best album to date. Following his progression from the early riff-sandwich that was Barn Burner all the way to the more sophisticated Dead Quiet, it has been great to see the progression in his voice. His voice has gone from being in the background on previous releases, to being the main focal point of this album. The vocal range and variety exhibited by Kevin Keegan on “Grand Rites” has come a long way since “Bangers”.

Most notably on “Grand Rites”, Dead Quiet has incorporated keyboards into their sound. The addition of former 3 Inches of Blood guitarist Justin Hagberg, the 70’s influence is now fully embraced by the band. This is apparent on the albums early tracks like the Deep Purple infused “Moon Cruiser” to the white room re-imagining of “Blood Lovers”. Elements of Creedence Clearwater Revival become apparent on “Corpse Revival” which morphs into an onslaught of Slayer oriented thrash riffs.

Perhaps what makes this album so enjoyable is its tasteful use of every element it brings to the table. The amount of acoustic instruments featured on tracks like “Dear Demon”, and “Ritual Abuse”, for example, really make its heavy elements shine through. All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites”is one of the best Canadian Metal records of the year.

“Grand Rites”is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Kadavar - "Rough Times"

By: Richard Maw

Album Type: Full Length

Date Released: 29/09/2017

Label: Nuclear Blast

The sound off the album is positively low-fi, the title track a noisy and lurching beast and “Into The Wormhole” sounds like a slowed down record being played through a torn speaker. There are sojourns into more proggy territory with “The Lost Child”, but for me it is when the band utilise the most Neanderthal sounds that they are most effective.  The verdict? A lot better than their first two albums and an interesting, engaging listen.

“Rough Times“CD//DD//LP track listing:

1. Rough Times (3:38)

 2. Into The Wormehole (4:17)

3. Skeleton Blues (4:24)

4. Die Baby Die (4:18)

5. Vampires (4:48)

6. Tribulation Nation (5:04)

7. Words Of Evil (3:37)

8. The Lost Child (5:52)

9. You Found The Best in Me (4:58)

10. A L'Ombre Du Temps (3:57)

The Review:

Kadavar are Berlin's premier 70's retro rock revivalists and I have followed their career somewhat loosely since their 2013 “Abra Kadavar” album which featured a very seventies production in terms of instrument placement and a small dose of Sabbathto go with their Deep Purple, Budgie, Coven, Blue Cheer, Zeppelin et. al. references. Not doom, for sure, but not only classic rock... Since then, of course, a myriad of bands have come to the fore who deal in similar retro-nostalgia (Gentleman's Pistols are still the best outfit with a retro leaning).

With “Rough Times”, I have missed out on one of the band's albums so I don't know quite how this fits into their continuum but I do know that this is much rougher than the first two records- as the title may obliquely suggest. This is closer to the MC5 and The Stooges in terms of sound and aggression than it is to Budgie. The sounds is positively low-fi, the title track a noisy and lurching beast. “Into The Wormhole” sounds like a slowed down record being played through a torn speaker.

The rest of the record is just as gnarly- “Skeleton Blues” is a primal groove of distorted bass and guitar with reverb drenched vocals. The lyrics capture the Zeitgeist of fake news and confusion in prescient terms. As such, then, for a retro band Kadavarare remarkably up to date in themes and concerns- of the ten tracks, all sound like they could have been recorded between 1968 and 1975, but most of the lyrics could only come from the here and now- an odd combination, but one that makes their sound more alluring, at least for me.

Whether it be the lost innocence and cynicism of “Vampires”, the political sounding “Tribulation Nation” or even the straight rocker “Words of Evil” with its metaphors, all the songs are bang up to date: or could apply to any era of trouble and strife you could name. There are sojourns into more proggy territory with “The Lost Child”, but for me it is when the band utilise the most Neanderthal  sounds that they are most effective. There is melody aplenty in “You Found The Best In Me” and it features as the middle track in the closing triumvirate where the band spread their wings beyond the Berlin/Detroit axis and venture into more unusual sounds and styles. The final statement of “A L'Ombre Du Temps”is again current, retro and a departure for the band.

The verdict? A lot better than their first two albums and an interesting, engaging listen.

“Rough Times” is available here

Band info: official || facebook

ALBUM REVIEW: Twelve Boar - "No Forgiveness"

By: Ernesto Aguilar

Album Type: Full-length

Date Released: 08/09/2017

Label: Independent

If you did not know the trio was from Aldershot, Hampshire, you would swear it was a Southern rock outfit in harder, more contemporary end of the Lynyrd Skynrd vein. Think playful storytelling, arena-rock boogie and contagious rhythms. The group knows its lane and stays in it exceedingly well.

"No Forgiveness" CD//DD track listing

1. Steppin' Up

2. Golden Goose

3. The Curtain Call

4. No Forgiveness

5. Elders From The Deep

6. Snake On A Lead

7. All the Heavy Griftin'

8. Panama

9. Hellspeed Truckin'

The Review:

The world today lives quite a bit in the 'woke' era. Everything said and not said is a statement. The news prompts reactions across the spectrum. The demands on entertainers to make moves of grand cultural and political significance, and the feelings that emerge when there are missteps or silence, seem never bigger than today. Although the world has certainly seen more profound conflicts, such as the World Wars, the conflict in Vietnam and the fall of the Soviet Union, social platforms and a constant media churn have simply amplified what happens around us, including debates and other contentions on a host of matters.

Being part of the world, extreme music worldwide is no exception. Many artists are delivering music that is largely inspired by the state of the globe. Still others give you a sound that is aimed squarely at helping you let off some steam and break away from the gnashing around us.

Formerly known as XII Boar, the United Kingdom's Twelve Boar has a straight-ahead formula: hard rock 'n' roll without the frills. Their previous record, "Beyond The Valley of The Triclops," received positive reviews. And "No Forgiveness"'sopener "Steppin' Up"demonstrates Twelve Boar has no intention of letting up on its groove-blended heavy swing. You will not find a bunch of coded messages. Instead the group drops unmistakably strapping guitars and rugged vocals.

"Snake On A Lead" is among the tracks that will snag you. If you did not know the trio was from Aldershot, Hampshire, you would swear it was a Southern rock outfit in harder, more contemporary end of the Lynyrd Skynrd vein. Think playful storytelling, arena-rock boogie and contagious rhythms. The group knows its lane and stays in it exceedingly well.

The cuts taken in full are of the classic variety, similar to squads like Motorhead, Deep Purple and Black Sabbath. "All the Heavy Griftin'" and "Hellspeed Truckin'" are songs befitting the kings, and Twelve Boarwill knock you out of your seat with its musical and lyrical proficiency. Additionally, with each of those inspirations, down in the gutter blues informed swaths of their catalogs. Twelve Boar reflects that too, along with a dirty bit of rhythm thrown in. From nu metal-esque rap (in a good way) tossed in on "Golden Goose" to the roadhouse affectivity in "No Forgiveness," the band declines to just make old-school tributes, and seems intent to blaze its own trail.

Billed partly as a party band, Twelve Boarunquestionably qualifies. Hard rock fans especially will find far more to love too.

"No Forgiveness" is available here

Band info: bandcamp || facebook

REVIEW: Egypt - "Cracks And Lines" (EP)

By: Ernesto Aguilar

Album Type: EP

Date released:20/06/2017

Label: Independent

“Cracks and Lines” CD//DD track listing:

               

1. Final Heist

2. Cracks and Lines

3. Dirge

4. Watchin' You

5. What Lights This Ocean

The Review:

Many metal fans were introduced to Fargo band Egypt through their 2013 release, “Become the Sun”. Tracks like "World Eater" were a crushing, and welcome, introduction to Egypt’s sound. That stoner/doom wall the group creates is deceptively melodic. Egypt knows how to construct songs that are undoubtedly heavy, but simultaneously catchy.

While it’s true ‘catchy’ is surely not something you’d think of first, its commitment is undeniable. Egypt’s influences, such as Deep Purple and Black Sabbath, enabled able to create a mood and tone, but also to craft music that stuck with you. Egypt takes cues from those forefathers and seems devoted to making music that is artful as it is pounding. Some might consider that approach too traditional, though it is nevertheless pleasing. Toss in rich storytelling in its songwriting and lyrics, and you get an uncommon and surprisingly high bar.

As with a lot of doom bands, Egypt is likely best experienced live. However, the band has managed in the past to bottle up and represent itself well on disc, wax and digital. Now, after several stops and starts – the squad’s released just two EPs and two full-lengths in 10 years – Egypt is back at it with “Cracks and Lines”. The North Dakotaoutfit’s new five-song affair is sure to please its loyalists and perhaps beckon a few doubters of the subgenre.

This EP gets a lot of heft from the  guitar attack of Neal Stein, who’s fronted other bands during his tenure. They remain true to Egypt’s core sound, while sprinkling in other influences on occasion. The duo shine best on the title track, where the sonic typhoon rises, falls and crests again, offering a tremendous listening experience.

Lots of credit has to go to bassist and vocalist Aaron Esterby, who gives consistently strong vocals, no matter if it’s the 10-minute-plus tracks you might associate with stoner/doom metal or the shorter and perhaps accessible songs (to new fans). He and drummer Chad Heille also deserve a lot of praise for their peerless rhythm backdrops. That backbone has long been an Egyptsignature, and it stuns throughout “Cracks and Lines”. The restraint that launches "What Lights the Ocean" opens up into a ferocious landscape for Grahn and Stein to add their own power to the songwriting offered up.

In spite of the short run of just under 40 minutes, “Cracks and Lines” has a few treats you’ll want to check out. "Dirge" brings a psychedelic vibe to the festivities. It is the shortest cut on the EP, but stands out because it is so divergent from the rest of the collection. The opening track, "Final Heist," is a fantastic way to begin. Not only is the band’s brilliant chemistry on full display, the lyrics are interesting and sure to bring you back.

One has to assume touring and life in general are thwarting a full-length for Egypt. “Cracks and Lines” is nevertheless a strong effort to satiate fans until that time comes.

“Cracks and Lines”is available here

Band info: bandcamp || facebook

TRACK PREMIERE: Raleigh, North Carolina's doom knights Demon Eye issue "The Redeemer" & choose their Top 5 influential albums

Taking their name from one of the darker tracks of the Deep Purple catalogue, Demon Eye consists of four men, two New Yorkers, two Southerners, and one shared love for old school metal, yes Demon Eye are back folks, indeed news of an impending third offering pleases us very much around there parts, having fallowed the upward trajectory of this stellar act since debut “Leave The Light” (review here) hit are decks back in 2014.  Be sure to mark the date in your diary because “Prophecies And Lies” will be released on August 11th and that means  another superior dose of their classic rock, proto metal and traditional doom.

Demon Eye’sheavy grooves and thunder rhythms channel the doom and crush of Black Sabbath and Pentagram, and the fist banging shred of early ‘Maiden.   You could say that Demon Eye represents the flowering of an American take on the spirit of the Scandanavian Retro Rock bands.  Combing the warm vibes of 70's jams by Deep Purple, Black Sabbath, Mountain and others with a rough and ready smattering of the early metal roar of Pentagram and Pagan Altar thrown in for good measure.

Their story is an odd one.  The band that would come to be known as Demon Eye began life as a seventies tribute / cover band Corvette Summer whose "set generally includes the music of: Thin Lizzy, Humble Pie, Led Zeppelin, Deep Purple, Blue Oyster Cult, Kiss, UFO, Alice Cooper, Free, ZZ Top, and many, many more..." (Source).  So the ingredients were all there to begin with. Meanwhile, it turns out frontman Erik Sugg has made quite a name as an incredibly popular children's entertainer in the Raleigh, North Carolina area, teaching toddlers how to read through the power of rock & roll, and if you don't dig the hell out of this story, you simply have no soul.  None of this however, suggests that the band would blast into the doom rock world with an absolute scorcher of a debut E.P., which was released in early Spring of 2013.  The eponymous E.P. generated a decent buzz and those with one ear closer to hell didn't fail to notice.

One of those folks was Jorn, owner of Souseller Records.  The label who would go on to issue Demon Eye'sfull-length debut, 'Leave the Light'and 2015’s critically lauded sophomore release “Tempora Inferalia” (review here).  So with the release date of “Prophecies and Lies” drawing ever closer, it gives us great please to welcome band the onto the pages of THE SLUDGELORDwith a brand new and exclusive track “The Redeemer” which you an stream below. Folks new to the band, we envy you and if that describes you, you have to get your hands on this album if you would answer "yes" to any of the following questions:

Do you like the demonic smirk of evil and forbidden good times?

Do you like heavy guitars with shredding leads?

Do you like uptempo doom boogie music with catchy choruses and clean vocals?

Not only that, if the excitement of that new track wasn’t enough, we recently caught up with front man Erik Sugg to talk us through some of the bands own personal favourite albums.  Which you can check out below the track stream.  Double the dose double the riffs.  Demon Eye welcome back, you are truly knights of the sound table, we love you and you should too.  

 

Iron Maiden - "Live After Death"

This is Larry's pick. What is there to say? It's classic. Amazing heavy metal that has stood the test of time for several generations and will continue to do so. Top notch song writing and incredible playing. It was pretty amazing being a kid in the '80s and being exposed to Maiden as contemporary band. They were larger than life and made their music epic for fans of hard rock and metal everywhere.

Queensryche - "The Warning"

Bill, Demon Eye'sdrummer, is a huge fan of this era of Queensryche. It's great classic metal from an early period of the band before they began the more experimental portion of their career during the latter half of the '80s, (the more heavily produced, thematic albums.) A lot of folks in the metal community seem to share pretty strong feelings about Queensryche, but this album stands up. If you slept on it, you should go back and give it a listen.

Deep Purple - "In Rock"

We seem incapable of not discussing Deep Purple during interviews, ha. A huge influence for the band, obviously, and this record is certainly one of the best things they ever did. It slams, through and through. Everything from the heavy opening riffs to "Speed King" to Ian's valkyrie-shrieking in "Child in Time," to the almost MC5-ish "Flight of the Rat." I own three different vinyl copies of this, (my listening copy, my back-up copy, and a picture disc version.) It's one of my favorite records of all time. I was stoked to see a recent interview with Ritchie Blackmore where he stated it was one of his favorite things the band ever did.

Judas Priest - "Sad Wings of Destiny”

Paul chose this one. If it were the only Priest record in existence, they'd still be metal gods. It's really interesting this album was released in 1976 because that's around the time when punk started kicking off, but it still granted the band a huge audience and opened the doors for the pending NWOBHM scene. Generally Sabbathand Deep Purpleare the bands credited in making the musical transformation from heavy blues towards a more classical moding style. That sort of thing ultimately became the blueprint for the traditional heavy metal sound. Tony Iommi and Ritchie Blackmore may have been the first guitarists to introduce that style to heavy rock, but Priestwere the ones who really set that sort of thing into stone with this record. It will always hold up.

Witchcraft - "Witchcraft"

I can't not express enough how much this band means to me. When I heard Witchcraft'sdebut record back in the mid '2000s it stopped me dead in my tracks. It was everything I loved about vintage heavy rock and it was traditional doom metal like Pentagramand Candlemass, but it wasn't over-driven nor downtuned. It was very clean and crisp, but still sounded heavy and evil. I kept Witchcraft's sound and their techniques in my mind when I first started writing songs for Demon Eye. I didn't want to sound like them, but I wanted to achieve the same "less-is-more" kind of power they were achieving. I don't know much about Magnus Pelander as an individual, (he's a bit of a mystery to American fans,) but I will always admire his imagination and his stunning songcraft. I will buy everything he ever releases, Witchcraftand solo releases, for the rest of my life and for as long as he's releasing them.

Band info: facebook  || bandcamp

ALBUM PREMIERE: Spanish psych/doom trio Kabbalah begin their journey of "Spectral Ascent"

Emerging underground doom specialists Twin Earth Records will release “Spectral Ascent” by Spanish psych/doom trio KABBALAH on July 7th 2017. The band’s mysterious and fascinating sound contains flashes of occult rock, 70s retro and classic psychedelia drawing comparisons to such luminaries of scene from past and present such as BloodCeremony, Coven, Deep Purple, indeed with such a talented line up armed with such a brilliant record, it likely this Spanish Trio will not only erase our post Brexit blues but see the band emerge as one of the forerunners on the scene.  Don’t take our word for it; judge for yourselves as we present “Spectral Ascent” in full for your listening pleasure.  Twin Earth Records are taking preorders now and are available here.   

Band info: bandcamp|| facebook

TRACK PREMIERE:The Riven deliver a raw and soulful slice of heavy rock with "Ain't No Doctor"

London based heavy rock band The Riven are set to create quite the stir within the heavy rock fraternity, they are set to release their gloriously righteous  debut EP “Blackbird”on April 14 2017 and as a consequence it is destined to propel them to the top of every playlist by year’s end.  Make no mistake this band are going to blow up in stratospheric proportions.  The album's five tracks recall the glory of 70s hard rock and is influenced by bands such as Grand Funk Railroad and Deep Purple.

The Riven is the perfect juxtaposition of delicacy set against raw, soulful, heavy rock which tastes all the better when washed down with lots of hot sauce and cheap beer. Formed in West London after an alcohol-fueled songwriting session between guitarist Arnau Diaz and bass player Max Ternebring, they were soon to be accompanied by Charlotta Ekebergh on vocals and  Olof Axegard on drums.

Whilst comparisons with their contemporaries will undoubtedly come their way, naysayer take a walk, this delectable quartet are the perfect remedy for the blues of winter and compose music that warms the soul and puts a strut in your step.  So we are beyond stoked to debut a brilliant new track from their forthcoming EP which you can check out below entitled “Ain’t No Doctor”.  Now where's that beer and hot sauce!!

Band info: bandcamp

ALBUM REVIEW: Overkill - "The Grinding Wheel"

By: Richard Maw

Album Type: Full Length

Date Released: 10/02/2017

Label: Nuclear Blast

This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet.

“The Grinding Wheel” CD//DD//LP track listing:

1. Mean Green Killing Machine (7:29)

2. Goddamn Trouble (6:21)

3. Our Finest Hour (5:49)

4. Shine On (6:03)

5. The Long Road (6:45)

6. Let's All Go To Hades (4:55)

7. Come Heavy (4:59)

8. Red White And Blue (5:05)

9. The Wheel (4:50)

10. The Grinding Wheel (7:55)

The Review:

Overkill are back again with “The Grinding Wheel.” First off, it's a cracker. The band has been in a purple patch now for a decade. “Immortalis” was a strong swing into form and then they followed up with the career highpoint of “Ironbound”. “Electric Age” was a similarly awesome and a straightforward thrash record and then “White Devil Armoury” was also an absolute ripper. In my view, the band are at an all time creative high. After a thirty year career and counting, that is some achievement.

With a stable line up in effect for the last decade, I pressed play with high hopes. First impressions? The band are performing at the top of their game. Bobby “Blitz” Ellsworth is ageless. He gives a strong performance throughout and one that is more intense than men half his age. The Dave Linsk/Derek Tailer guitar partnership is in full effect (catch them live; what a team!) and DD Verni locks down the low end, while Ron Lipnicki brings the rhythms with consummate professionalism on what appears to be his swansong with the band. Don't worry, I saw Eddy Garcia play drums with them in 2016 and he slayed.

Opener “Mean Green Killing Machine” is seven and a half minutes of hard as nails thrash. For those of you who have been looking out for the advance tracks, “Goddamn Trouble” is up next - tales of high speed misdemeanour abound on this thrasher; look out for the Deep Purple reference and the nostalgia-triggering tape-into-dash verse!

The thrash fest continues through “Our Finest Hour” while “Shine On” is a mid paced stomper that Overkill often throw in on their best albums. “The Long Road” is very hooky after a lengthy and lead- laden intro, packing a very memorable “Onward! Upward!” refrain. At ten tracks, Overkill have delivered a good lengthy record here. The first five fly by- even with song lengths almost all north of six minutes! The second half is just as strong; “Let's All Go To Hades” is kind of like a Motorheadtype track, which is fitting, considering Overkill's consistency and longevity. It has a strong memorable hook and the lyrics are rather poignant. The band mix things up here and there, of course, and throw in “Come Heavy” here for a groove laden departure. It's a fine moment for the album and recalls Sabbath at their most playful with a wonderful loping feel.

Overkill always had more rock and roll to them than the likes of Slayer and you can often hear echoes of bands such as AC/DCand Motorheadin their records- this is a good thing and reinforces the working class ethic of the band: nothin' fancy; just thrash metal. “Red White and Blue” has a strong “liberty or death” message- with a difference- and is a thrashing wake up. “The Wheel” and “The Grinding Wheel” round the album out in style. The last two tracks feel like companion pieces to one another, the former being a very catchy revved up anthem, the latter being something of a moody epic, Overkillstyle.

Having listened through the record multiple times now, I can confidently state that it is a winner. It's immediate and showcases everything that Overkill do well. The production is warmer than “White Devil Armoury” and somewhat less processed than the previous three albums. The drums are a little more organic sounding and the album benefits from this less machine like feel. The aforementioned rock 'n' roll feel comes from this, in my estimation.

With Nuclear Blast delivering a broad range of formats (I have pre-ordered the vinyl and limited CD with a bonus track) there is choice for the collector and casual fan alike. Once again, the label deliver in terms of formats, value for money and packaging. The front cover looks good too- with its gears-locked-in-place visual it absolutely conjures up the right imagery. For a band like Overkill, this is important as they sell a fairly consistent amount of albums, I believe, and have a recognisable brand and sound. They make an album, promote it by touring and then make another one. Professionals to the last.

If you have never heard Overkill, by all means start here... or any of the previous three albums... or “Horrorscope”, “Years of Decay”, “Feel The Fire”, “From The Underground and Below” and so on. For me, this record is kind of a cousin to 1994's “WFO”; similar thematically and even in production style. Will it win over new fans? It should. Overkill are operating in the kind of bracket that Motorhead did; they've always been around, they've always put out albums every two years or so, their records are always at least good (often great) and they have ALWAYS been under-appreciated. Get on board now, before it's too late. This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet. Enjoy them while they are still here.

“The Grinding Wheel” is available here

Band info: official || facebook