Enforcer’s shtick was old before they had even recorded their first demo. But four albums into their career and they can pen a good ode to classic 80s metal. The Swedish four piece – Olof Wikstrand (Guitars & Vocals), Joseph Tholl (Guitars), Tobias Lindqvist (Bass), Jonas Wikstrand (Drums) – probably know it’s not 1982 anymore (we hope…), but they don’t care.
It’s good, mindless fun, and that’s ok.
From the opening notes of ‘Destroyer’ you know what you’re going to get over the next 40-odd minutes; no pretence, no bullshit, just big riffs, melodic hooks, shout-along choruses and the urge to wear nothing but denim and leather. This is pure high octane 80’s metal from 2015.
You like galloping riffs? We got it. High-pitch wailing? You know it. Air-guitar inducing solos? Of course. Enforcer have done their research; Judas Priest, Iron Maiden, Diamond Head, Saxon, plus numerous lesser known ‘cult’ acts; all your favourite NWOBHM influences are present and accounted for. It’s a meticulous copy of all the best bits of heavy metal’s classic years combined with a good ear for hooks. You could make a game out of identifying which riffs they’ve stolen from which band/album.
From Beyond (Nuclear Blast) has a default tempo of fast. The likes of ‘One with Fire,’ ‘Hell Will Follow’ and the opener all scream speed metal. ‘The Banshee’s simple but addictive chorus and twin lead guitars has future crowd pleaser written all over it, while ‘Below The Slumber’ and album closer ‘Mask of Red Death’ are both six-minute mini-epics; starting slow and quiet before bringing a plenitude of riffs and noise.
There’s nothing particularly wrong with From Beyond; if you liked any of their previous efforts (or indeed any other super retro act) they’ll be plenty to enjoy here, and if you have a craving for authentic sounding metal from three decades ago you’ll be more than pleased. But anyone chasing anything more than nostalgia will find nothing particularly to enthuse about.
7.0/10
DAN SWINHOE
Billed as “a musical constellation whose primary foundation rests on epic metal while drawing experimental influences from ancestral musical traditions of the North and spiritual guidance of its hermetic crafts”, Sweden’s Eldkraft’s debut Shaman has plenty to offer for those who like their metal big. And I don’t mean just “big”, I mean “big” with a capital “BIG”. To describe this as grand would be a gross understatement. Where to start? Well, the guitar sound is huge, of course. The palm-muted chugs, mammoth riffs, ball-breaking bass, and thundering drums are the size of Godzilla’s gonads during a particularly bad bout of elephantitis. Translated as firepower, Eldkraft’s moniker is probably the most apt name chosen by any band of late. With the kind of fire and brimstone-laced artillery that these guys pack, they look set to make a devastating impact. Or at least they would were it not for J. Sandin’s warbling theatrics clashing with the otherwise fine tracks on offer.