With five thrash classics behind them, Kreator spent much of the 1990s exploring other avenues of their sound. A tumultuous chapter in the band’s history, the decade also saw several line up and label changes. The band’s least popular era without question, there’s still plenty of quality to be found, with the latter two albums laying the groundwork for the band’s current direction.
Renewal (1992)
The 1990s was not kind to thrash, with the start of the decade something of a last hurrah for the initial movement in the form of records such as Coma of Souls, Rust in Peace, Seasons in the Abyss and Arise. Like many of the genre heavyweights, Kreator went on to spread their creative wings as the years wore on. Renewal still has thrash coursing through its veins, but incorporates some thoughtful, pensive moods and industrial overtones; Petrozza’s social critiques going into overdrive lyrically. The production is a bit too muddy, and whilst it gives the album a somewhat murky atmosphere, it unfortunately robs some of the speedier moments of clarity. Mille still barks with authority, although it’s more of a shout than the vitriolic rasp of previous records, whilst Blackfire’s considerable lead skills are sadly reined in. Whilst it’s not a missfire, Renewal certainly is a step down from the quality Kreator had offered previously. That said, it still has it’s fair share of great material, making it a record fans should track down at some point.
Rating: 7/10
Highlights: “Renewal”, “Zero to None”, “Depression Unrest”
Cause for Conflict (1995)
The middle of the decade saw major line up changes for Kreator, with founding members and rhythm duo Ventor and Rob Fioretti leaving the fold, replaced by Joe Cangelosi and Christian Giesler respectively. The record itself saw Kreator return to a thrashier style, also drawing influence from hardcore, industrial and the blossoming groove metal scene. The most ferocious sounding record since Pleasure to Kill, the band steamroll like a freight-train, at times sounding perilously close to derailing. Cangelosi shows himself to be a more versatile skinsman than Ventor, but his energetic fills and footwork, pushed too far forward in the bass heavy mix, often become overbearing. He is not helped by the lacklustre songwriting, and although there’s some quality riffs, many tracks coming across as aimless. Blackfire is again almost surplus to requirements; rarely given an opportunity to shine in his final outing with the group. There’s a few gems but on the whole, it is the worst effort the band has offered to date.
Rating: 5/10
Highlights: “Catholic Despot”, “Lost”, “Isolation”
Outcast (1997)
1997 again saw numerous line up changes, with original drummer Ventor returning to sit behind the kit and Frank Blackfire being replaced by Tommy Vetterli, the then former six string contortionist of Swiss tech thrashers Coroner. With such a talented axeman on board, one might have thought Kreator would go for the jugular, but Outcast is the band’s most deliberately paced affair, with only a few faster smatterings to satisfy speed junkies. Kreator groove more than ever before, with industrial loops and gothic overtones creeping further into their sound. Ventor’s drumming is a welcome return; his tight, machine like style anchoring the songs effectively. Vincent Wonjo’s production, the best of Kreator’s career, helps to no end; every strike of the snare like a snap of thunder, with the guitar tone crisp, clear and relentlessly heavy. The songs themselves however, are a bit of a mixed bag. The record starts strongly, with “Leave This World Behind”, live favourite “Phobia” and “Forever” a fantastic opening trio. The tranquil misery of “Black Sunrise” is enjoyable too, whilst the groove metal workout of “Alive Again” is an album highlight near the tail end of the record. Sadly, everything else tends to be quite forgettable, rendering Outcast one of Kreator’s weakest offerings.
Rating: 6/10
Highlights: “Leave This World Behind”, “Forever”, “Alive Again”
Endorama (1999)
The end of the ’90s saw Kreator fully embrace the gothic influences seen on Outcast. Once jokingly referred to by Mille as their attempt to be The Cure, Endorama possesses very little of the aggression that gave the band such reverence in the metal scene in their classic years. “Shadowland”, “Soul Eraser” and “Pandemonium” do see the band throw the thrash fans a bone (the latter a near rewrite of “Phobia”), showcasing the direction the band would pursue on subsequent releases. It’s generally the more left of field tracks that are of greater interest however. “Everlasting Flame” is a beautiful semi ballad with string and piano accompaniment; Mille’s performance tinged with regretful melancholy. The late ’90s saw him taking more risks with his vocals, and he does a commendable job with the cleaner approach he takes on some of the tracks here. “Golden Age”, “Endorama” (featuring Tilo Wolff on guest vocals), “Tyranny” and “Willing Spirit” are all sprightly, gothic tinged rockers with memorable hooks and droves of melody seamlessly integrated into the straightforward song structures. It’s a world away from the Kreator of the ’80s, but it’s still a good album, and, if nothing else, is the seed from which 21st century Kreator’s renaissance has grown.
Rating: 7/10
Highlights: “Golden Age”, “Everlasting Flame”, “Pandemonium”
Part one available here. Part three to come soon, along with a review for Gods of Violence.
