Nuclear Assault - Pounder

"A Pounding Final Assault"


I have actually never been a big fan of Nuclear Assault. Maybe because the first thing I ever heard was the track "Hang the Pope" which I still think is a horrible track, and that consequently held me from exploring the band. However after the EP was announced and I heard some music, I was intrigued to really explore the band. Nonetheless, this mini-album was a positive surprise and I even managed to catch the band on tour, performing a great concert!

This little EP is kicked off by the title-track which is a fine little nod to the old days and how it has survived through the years. Overall it is a nice opener and sets a good mood for the short amount of time this record lasts for. "Lies" is lyrically something you could've seen back in the '80s as well, as you're supposed to open your eyes and see beyond the so called lies. Musically it is the track I favour the least on this EP, as it's not as interesting or well composed as the other songs. The last two tracks are actually my favourites. "Analog Man in a Digital World" features a really catchy chorus which could work great live is the crowd is familiar with the track. The lyrics are mostly spot on for me personally with passages like "Nifty little gadget you've got running your world, tell me when's the last time that you spoke to a girl?". But contrary to another part of the lyrics, I must admit I love myself a good amount of gaming whether online or not. A bit of Duke Nukem 3D never hurt anybody. At first glance, the last track led my thoughts towards Cutting Crew's classic, but of course the two tracks are two different things. Anyway. "Died in Your Arms" definitely stands out from the rest of the EP with its more melancholic and gloomy feel, both in music and lyrics. On that track those two aspects definitely support each other greatly, and is also why I would say it is the best track off Pounder.

Production-wise it sounds like you've been invited into Nuclear Assault's rehearsal room, you've taken a seat on the couch with a cold one, and then just enjoy the show. The analog vs. digital thing definitely shines through on the production, which is not a coincidence. It doesn't sounds as good as past offerings from the band's heydays. For one, I think the snare could've been nurtured a bit more. John Connelly's vocals sounds really good and is not even close to being a point-of-complaint from me. To give you a quick overlook, Pounder is definitely better than Third World Genocide, but I wouldn't say that it is on-par with for example, The Plague. It is a solid last offering where it would've been nice with some more material, but maybe it is a case of "less is more". Hardcore fans can enjoy it and so can newer fans.

Rating

7.5

Slayer - Repentless

"When the Mediocrity Comes"


Does Slayer really need an introduction? All right then...  It's been six years since we had a piece of material from these old fellas which is quite a gab, and a lot of shit happened since 2009. New label, new members, new production team and the loss of Jeff.

Repentless starts off pretty strong with the title-track being introduced by the instrumental "Delusions of Saviour". While the intro track, just like 95% of other intro tracks, could've been used for a mid-section is a bit redundant, I must admit that I enjoy the title-track, "Repentless". Bostaph thrusts a lot of life into the track with his all around solid and tight performance. But after that, there's a wide gap until something worthwhile comes along.
"When the Stillness Comes" was very quickly compared to "South of Heaven" and therefore labeled as a major throwback. However this track does not make it into the highlights spot. It never really takes off properly and seems unfinished. But I will give them credit for bringing some variation into the album. Slayer already did a track reminiscent of "South of Heaven" in 1994 with "213" which I think is a better track.

We're also treated with some recycling in the likes of "Atrocity Vendor". It was originally recorded during the World Painted Blood sessions and released on a single the year after. There's not much change from the original version. Still corny and forgettable. "Implode" is probably one of the worst tracks off the album and it was definitely not a wise decision for this to be the first track to be heard from the album back when it was announced. Forgettable. That's the word I have to use again and again. It's not until the second last track, "You Against You" that we get something that's worth coming back for. Just as the title-track it mixes some good riffing with skank-beats and just good songwriting. Of course, this does not rank among the band's best offerings, but it's solid, and a relief on this record. It's really hard not to shout along when Tom yells out "YOU AGAINST YOU!"

Behind the knobs is Terry Date, who has produced a lot of albums which I love, not only because the songwriting but also the production. He does a good job on this album. I am pretty sure he had some restrictions, because the albums sounds like you would expect. Just like a Slayer record in 2015. However credit is due for the heaviness on the record. The instruments sounds have a good depth and punch to them. I do however think both Christ Illusion and World Painted Blood had more character in its productions, especially when it comes to the guitars. But it wouldn't had made any sense to go down the same road once more.

To the touchy subject, the line-up. This is the first album without Jeff and once again Dave is out of the band. A lot of fans have said that it's not Slayer without Lombardo and continue to do so. And as an almost lifelong Slayer fan I would like to say that it is total fucking bullshit. Bostaph is a really good drummer and if anyone shines on Repentless, it's definitely him. People seem to forget the past he has with Forbidden, featuring on two of the best thrash albums to come out of the bay area. Whether Dave or Paul plays on this record doesn't change the fact of who's at the helm of this ship. Would the album have been better if Jeff was alive? Maybe and maybe not. God Hates Us All and Diabolus in Musica are still pretty bad, and don't take that the wrong way, I still grief Jeff's death. Would it have been better if Gary Holt contributed? Maybe and maybe not. Blood in Blood Out was definitely not the return everybody had hoped for. But I hope to see him contribute in the future, because Slayer won't stop until both King and Araya are in the nursing home.
So throw your goddamn "everything but the original line-up is not Slayer"-goggles. I witnessed this line-up perform at Wacken 2014, which is on the deluxe edition, and it is a fucking power demonstration. As Gary Holt said, he is not some new kid, or a groove metal-dude. He's a veteran. And so is Bostaph.

I only find two tracks worthy of coming back to on this record. The title-track, "Repentless" and "You Against You". Would I mind hearing these tracks live? No... Would I mind hearing something from Christ Illusion or World Painted Blood live? No... But I sure as hell would prefer a set-list only with excerpts from the first six studio releases and hear the classics. At least it has a pretty face. The cover for this album is without a doubt the best since Reign in Blood.
If I were to place it on the list, I would place it under the last two albums, but it's definitely a better record than both God Hates Us All and Diabolus in Musica. But, what you see is what you get. More of the same. For some, that is fine and is going to cut it perfectly, and I'd wish I was on the same wagon. But I'm not.

R.I.P. Jeff Hanneman, 1964-2013.

Rating

6.5

Undergang - Døden Læger Alle Sår

"No One Hears Your Screams"


The kings of the Danish death metal scene, Undergang, has returned from the sewers with a new studio album for the first time since 2012's Til Døden Os Skiller. It marks the end to the "Døden"-trilogy, so in the future the Kill-Town threepiece will dive into other territories on future records, promising it won't get less macabre.

Undergang always managed to phase their albums really good, and this time around it is no different. You're not thrown into a random selection of tracks, but a record that's well structured which definitely is a plus and adds to the experience. It starts off with the title-track and is the shortest burst the band has recorded so far. What struck me on this particular track is the 8 seconds where you get an intro-piece. Thank fuck. There's too many bands these days who shoves an 2-3 minute long instrumental track in your face, which sounds just like hundreds of others. Instead of that you get a swift kick in the face.
The title-track, meaning Death Heals All Wounds, is about escaping life through drugs, alcohol and suicide. It's written in a special period of frontman D. Torturdøds life, where he was in a dark state of mind. This shines through in the music throughout the whole album, as this is the most sinister album the trio has put forth. And that is part of what makes this record fucking great.

"Døden Læger Alle Sår" is the best sounding Undergang record to date. The production is simply spot on and precedes previous efforts thanks to the mastering from Dan Lowndes. Gone is the unfortunate production from "Til Døden Os Skiller" where the band, after some unlucky circumstances were left with only the rough mix. This time we're presented a sound, a production that equally fits the quality of the songs. Undergang is grittier and more extremely rotten than ever, and don't worry, there's still plenty of feedback to go around. If you close your eyes, you could probably imagine being present at their rehearsal, being blown away while listening to this record. It's not overproduced, it's not sterile, it is just old school. And it is without a doubt the heaviest sounding outing so far, with all instruments and the vocals sounding just right for this kind of rotten death metal. Nothing outshines the other.

The album develops with great variation just like on the first album, but there's been added more delicious stuff to the recipe this time around. Doom elements find their way more often into this album, just take a short sniff to "Lemlæstelsens Kunst" and try not moving your head. And then you got a track like "Gravrust" that incorporates slow guitar work with some offbeat drumming which gets me every single time. As mentioned, the production and the songwriting simply make each other shine as they're pulled through the roof. The album knows when to pull you around the room and beat you up, when to let you catch your breath and then continue pulverizing you.
This album marks the very first time you'll hear a guitar solo on a Undergang record. Instead of filling each track to the brim with solos you'll forget anyway, beforehand you would be run over by the riff train. On the closing track, "Det Gør Kun Ondt Til Du Dør", that changes. The man himself, Eric Cutler from the legendary Autopsy puts this record to rest with a well played, and well produced solo, making it the best album closer Undergang has used so far. The intro guitar from the opening track is weaved well into this track as well, as it is used to built up tension.

You won't experience any modern death metal, when listening to any Undergang album and you never will. Depending on your current mood for music, the record might need a spin or two to get a grip on you, but once it does. It will not let go. Overall not all songs are not quite on-par with the ones from "Indhentet af Døden" which outweighs this album in the song department, but the production, there's no contest on that one.
I hope they will try to incorporate new influences in the future and not end up outing the exact same material, album after album. More doom perhaps? Maybe a Left Hand Path approach with haunting synthesizers? More guest solos wouldn't be a bad idea either, because they nailed it perfectly this time. "Døden Læger Alle Sår" definitely surpasses the previous album "Til Døden Os Skiller". I'm quite confident saying that this album is one of the best death metal albums you will hear this year. Despite being the longest album by the band so far, it does not outstay its welcome in any way. If you're new to this trio, you can't go wrong with this record and if you already know them, then I can't see why you should not pick this up.

Rating

8.8

Battle Beast - Unholy Savior

"Welcome to the Limit"


Finnish Battle Beast recently released their third album in the likes of Unholy Savior. It's without a really special record and the band is shaping up to be something to keep your eye on. And allow me to explain why...

Let me start like this. Do you love the 80's? And when I say love, I mean LOVE the 80's. If you do then this album is for you. There's more reasons than that, but I'll save that for the end! I am not that well acquainted with Battle Beast, as in I've never heard anything by them before listening to this record. The first track I heard was Touch in the Night a couple of weeks before the release of this album. To be honest I thought that Nuclear Blast had uploaded the wrong damn track. I could not believe they had a bad signed that was so fucking 80's. I can however say that, that song is the one that sounds the most like it was actually done back then. Throughout this record I catch myself laughing from time to time. It's not a demeaning laugh, but pure joy. This album makes me so happy and it's just filled with good vibes. I dare you not to smile when suddenly some 80's Roland drum machine toms suddenly break into a heavy metal album. I dare you!

But let's get into the real meat of the album! From the very beginning of Lionheart the album simply just takes off and it just continues. The title track is one of the best on the album and you'll have to struggle to contain yourself from singing along. Suddenly you're greeted with a sample featuring Al Pacino in Scarface in the tribute to the movie, I want the World... and Everything In It. The middle section of this album is plain and simple amazing. It's where the variation of the album starts to kick in for good and keep everything fresh. That certain middle section contains three tracks and starts out with Sea of Dreams which is a more mellow song and shows that Noora's vocals fits every track they throw her into. That brings us into the fastest song on the album, Speed and Danger which isn't necessarily the best track on the album but the variation is spot on as it leads to Touch in the Night. That track reigns among some of the best from this album as well. The last couple of minutes of the album features the most guitar-driven metal track on the album Far Far Away, and then it ends with one more laid back song. Unless you got the digipak version... Battle Beast took the freedom to cover an 80's anthem in the likes of Paul Engemann's Push it to the Limit (from the Scarface soundtrack). I'm always skeptical about covering of anthems but they actually nailed it. Fucking nailed it.

I took the liberty to listen to a couple of tracks from the band's self-titled release to compare the production a bit. The electronic elements has been dialed down on this album and that's very good in my opinion. The keyboards are still busy though and they sound great throughout the entire record, but they sound way better this time around. Production-wise this whole record has a really big sound with a majestic touch. There's a lot going on the tracks, a lot of instruments and nothing gets lost but goes hand in hand and sounds terrific. Overall on every front, I think it's a step forward from their last album. And the vocals of Noora are fucking great. She's definitely one of the best female vocalists I've heard as she has a wide range and can fit her vocals into all the songs whether it's rough and edgy or she has to hits some higher screams.

I'm not into power metal at all. However Battle Beast is really, really accessible. I've been truly amazed by this album. It's modern production and numerous 80's sounds together with the variation and overall songwriting, together with the great vocals from Noora that doesn't come off as girly, but powerful is just a winner all the way. I hope this album will bring Battle Beast forward in the game as I think they are worth much more than a band such as Sabaton. 2015 just got one of the best starts possible with Unholy Savior.

Rating

8.5