The Kreator has returned! After five long years, many of which were spent exhausting audiences the world over, the German thrash legends are finally set to unleash even more chaos upon the metal faithful. Coming off the critical and commercial success of 2012’s Phantom Antichrist, they certainly have a lot to live up to, but Kreator have proved time and again that they are more than up to the task at hand.
In all honesty, I wasn’t really enamoured by Phantom Antichrist. The songs never felt truly engaging, and as a result it paled in comparison to quality of the three preceding albums. I had a bit of trepidation coming into this record due to this, despite knowing Kreator had gone through setbacks before. I am genuinely ecstatic to say that any fears or doubts I had were completely unfounded. Gods of Violence is an emphatic return to form; a 52 minute blitzkrieg that grips you tight and doesn’t let go until the final seconds are ticking by. Jens Bogren is once again on production duties, and has done a terrific job, striking a balance that makes the melodies clean, vibrant and accessible without robbing the music of its ferocity.
Those familiar with Kreator’s 21st century sound will feel right at home with the album. The record generally sounds like an amped up continuation of the ultra melodic, anthemic formula seen on Phantom Antichrist, although there’s more than a fair share of the mechanical, Outcast tinged thrash riffing that was found on Violent Revolution. There’s some small details that are subtley placed in the mix to give some songs that added vigour at the right time, be it the dramatic orchestration at the end of “Satan Is Real” or the bagpipes that help close out “Hail to the Hordes”. They’re only minor, but these sorts of things can make all the difference, as is certainly the case on Gods of Violence.
The mildly symphonic tones of “Apocalypticon” gently usher you into the fray, before the frantic blast of “World War Now” commences, a Kreator classic in waiting with a chorus that’ll be levelling audiences for years to come. If you manage to put yourself back together following that sonic dismemberment, you are treated to the stirring “Satan Is Real”, a mid paced number with a cyclical cruncher of a riff and some wonderful melodies interlaced throughout, paving way for a disharmonic, unnerving chorus. The lead guitar work is brilliant, and it’s something you’ll come to notice throughout the album. Sami Yli-Sirniö is a major asset to the group, with a truly distinctive style that marries seamlessly to the Kreator sound. At this point, he might be the best lead player they’ve ever had (and as someone who worships Blackfire’s playing on Coma of Souls, that’s saying a lot). He makes a formidable team with mainman Mille Petrozza, who is not averse to some nifty soloing himself, playing in an abrasive style that counteracts Sami’s more palatable phrasings. His vocals were starting to sound a little shrill in recent years, particularly on the stripped down Hordes of Chaos, but he sounds more powerful here, his vitriolic delivery still effective as he delivers his world view in 2017. There is also a fair amount of positivity to be found in his lyrics as well, speaking of strength, unity and togetherness on the likes of “Hail to the Hordes”, “Fallen Brother” (about the Bataclan attacks) and “Side By Side” (an anti-homophobia anthem). Ventor is dependable as ever; a flawless drumming machine that efficiently drives the songs in tandem with Christian Giesler’s underrated bass work. This lineup has been at it for over 15 years now, and it certainly shows.
Elsewhere on the song front, another relentless thrash assault gives way to one of the most memorable guitar harmonies of their career in “Totalitarian Terror”, which will surely go down as one of Kreator’s all time best when all is said and done. “Hail to the Hordes” is like a heavier version of “From Flood Into Fire”; a measured, melodic bruiser with a fist pumping refrain, whilst the breathless “Lion with Eagle Wings” soars with the speed, grace and might of the titular creature. The rolling thunder of the crushing “Army of Storms” is irresistible, whilst “Death Becomes My Light” is a more expansive take on 2005’s “Voices of the Dead”, with a Maiden-esque gallop and an almighty hook in the chorus. “Fallen Brother” is a quasi-throwback to the Outcast era, whereas the title track and “Side By Side” serve up the sort of searing melodic thrash that Kreator have been consistently delivering for over a decade. Even when they’re reinventing the wheel, they’re reeling off the sort of killer mosh pit mantras that many bands could only dream of making.
Criticisms? Well, as previously noted, the band is still playing it safe with regards to their musical approach, walking the same path they’ve been on since 2001’s Violent Revolution. There’s very little here that will surprise long term fans, which may be disappointing for some. There’s also a few moments of self plagiarism here and there that will surely raise an eyebrow or two in the detractor camp (eg the chorus motif in the title track is similar to “United in Hate”, the intro to “Army of Storms” having the same feel as the “Coma of Souls” intro), but, in all honesty, it’s hard to care when the music is as good as it is here. Plus, with a career of 30+ years and 14 albums deep, a little leeway isn’t too hard to give in this regard.
So yes, what an incredible record this is. Possibly their best since the legendary Coma of Souls. “We shall kill!” Mille screams in the chorus of the title track. With Gods of Violence, they may have just killed the competition stone dead before the year has truly begun. A stellar album from one of metal’s finest bands.
Rating: 9/10 – “Anthemic, melodic, and thrashes like a motherfucker. Another Kreator classic.”
Highlights: “Totalitarian Terror”, “Hail to the Hordes”, “Lion with Eagle Wings”
Band links: Facebook, Official website, Official album website
Gods of Violence is released worldwide on January 27th, via Nuclear Blast.
