Destruction: Mad Butcher (1987)

I talk about German thrash metal a lot.  Well, I am a huge fan of thrash metal, and despite discovering German thrash significantly later in my life, I actually prefer it to Bay Area thrash metal.  In general.  There are obviously bands such as Metallica, Testament and Exodus that I love, but I really do tend to like the more aggressive, rawer style of the German bands. 

There are of course three primary bands that most thrash metal fans know of as the German Big Three.  Of the German Big Three, the only sure thing is that Destruction is my least favorite.  My views on Kreator versus Sodom change almost daily, but Destruction generally lags behind.  That is not to suggest in any way that I dislike them, I just like the other two more.  I love Release from Agony, and I believe Destruction is probably the best of the three currently, but those early albums cannot be ignored.

That brings us to today's review, Destruction's Mad Butcher EP.  This was released shortly after the band's sophomore release and it featured two new members who were extremely technically proficient at their instruments.  That is likely the reason the members were brought on as Destruction sought to distance themselves from the raw and dirty sound of their countrymen.  It worked reasonably well as Destruction is generally known as the better musicians than Kreator or Sodom.

There are just four songs on this release, including the title track, which has become something of an anthem for Destruction with the Mad Butcher basically becoming the band's mascot.  The song acts as a showcase for the new members and the band's new direction.  The second track is a cover of a Plasmatics song, which is emotionally-charged.  I am not familiar with the original version, but the song is impressive.  The third (and last real song) is a slow-burning one with more advanced composition than anything the band had done previously.

This is an impressive EP.  It is not really a vital release, unless one is a huge fan of Destruction (particularly in light of its combination with the previous album into a compilation), but it shows the band maturing and is an interesting step in the band's progression. 

Night Demon: Darkness Remains (2017)

Honestly, my tastes have been evolving in recent years.  I have noticed it.  I am less and less interested in the extreme metal genres than I used to be and much more into the more traditional styles.  Thrash metal is still my personal favorite, but metal owing its roots to bands like Judas Priest and Iron Maiden are more and more appealing to me.  So it was with great interest that I jumped on this release, particularly after seeing others rave about it.

Night Demon has been making some waves in the underground metal scene since releasing their debut EP in 2012.  This is their second full-length album and it was subject to a lot of hype.  The band is truly a rising star among the other traditional metal bands.  The style has been enjoying a resurgence over the last decade or so. 

The band definitely wears their Maiden influence on their sleeve and the song "Maiden Hell" is Exhibit A in that.  That song references a ton of Maiden songs and their career in general.  Other than that, there are of course the galloping riffing style, heavy bass, and smooth and clean vocals.  There is also the visual aesthetic with the horror-influenced cover art.

But the album is not all Iron Maiden references.  Night Demon does forge their own identity, even if their sound is fairly derivative of other bands.  They do just enough to stand out from the pack of other trad-metal bands.  And they can definitely write some damn catchy hooks. 

Kamelot: Silverthorn

It is always tough to tell what a band is going to do after a particularly noteworthy member leaves the band.  A band risks alienating their fanbase if they do not find an adequate replacement.  Such was the situation that Kamelot found themselves in after longtime vocalist Roy Khan left the group.  Khan was not the band's original singer, but he had quickly become one of the most distinctive features in the band.  I probably would not have cared much for the band without Khan's crooning vocals.

As it is, Kamelot did not have a whole lot to worry about.  New singer Tommy Karevik sounds a lot like Roy Khan.  In fact, if I did not know that Kamelot had a new singer, I probably never would have guessed this was not Khan.  Maybe that means I do not pay that much attention, or maybe it is because Karevik is doing a damn good job trying to sound like Khan.

Musically, the last couple of Kamelot albums have been a little bit lackluster.  Kamelot has never really been the most aggressive American power metal band.  In fact their sound is far closer to the Scandinavian power metal bands like Sonata Arctica, Stratovarius, and the other so-called "flower" metal bands.  The music is dark and romantic, instead of powerful and aggressive.  This trend has gone a little far in Kamelot's recent output to the point that it barely seems metallic at all.  But that is where this one differs a little bit.  Granted it is not a complete change in the opposite direction.  This band is never going to sound like Grave Digger or Hibria, but the more aggressive riffing style is back and a sound similar to their earlier works is present.

The songs are once again quite catchy.  That is something that Kamelot has always brought to the table.  And yes the dark, romantic vibe is still present.  Kamelot is one of the few bands that my wife approves of and even really likes.  She usually requests me to bring Kamelot on any roadtrips.  That will not change with this new album.  If you have enjoyed Kamelot in the past, you will likely enjoy this too.  Some bands do not change that drastically.