‘Masquerade of Madness’ (Single) Metal Blade Records Heavy Metal
Who would have thought that it is has been thirteen years since King Diamond last released anything new? Where has the time gone since the King released ‘Give Me Your Soul… Please’? When this occurs, it presents a sort of expectation, particularly with an artist such as King Diamond. However, the longer this absence of material continues, the greater the expectation and this was the case when King Diamond dropped the single ‘Masquerade of Madness’ late last year.
Although this track features a similar thematic approach taken during ‘Give Me Your Soul…’ and that may get fans thinking: “oh no! here we go again!”. Thankfully, though, what King Diamond has accomplished with ‘Masquerade…’ is more a classic King sound, something that is not quite ‘Abigail’ or ‘Them’, but something a little more akin to ‘Voodoo’ or ‘The Spider’s Lullabye’, but nonetheless enjoyable.
What this means is that ‘Masquerade…’ is timeless, it could easily fit anywhere in King Diamond’s career and that means that this single sets a precedent for things to come from King Diamond and positions the bar of expectation very high indeed. 87/100 Adam McCann
Katatonia
City Burials Peaceville Records Progressive Metal/Rock FFO: Opeth, Anathema, Amorphis, Thenighttimeproject
When it was announced in 2017 that Katatonia were entering a period of hiatus, it was unsure as to whether the Swedish death/doom masters would return. Thankfully, less than 3 years later, Katatonia announced that the band would return to follow up their 2016 album ‘The Fall of Hearts’ with their latest studio album ‘City Burials’.
There are no surprises here that ‘City Burials’ continues to explore the same passages that have been lain down over the last few Katatonia albums. This does mean that this latest offering from Katatonia is heavily steeped in progressive overtones touched up with something darker running beneath that gives this album a Gothic metal undertone, all wrapped up in the beautiful vocal delivery of Jonas Renkse who once again excels with his melancholic timbred delivery that can be seen in tracks such as ‘Lacquer’, ‘Heart Set to Divide’ and ‘Lachesis’. However, much like the previous album, ‘City Burials’ does take more than a few listens to fully appreciate and enjoy, this is an album of slow burning tracks which smoulder like the dying embers of a fire keeping somewhere warm rather than a furious inferno, but the listener does get it something stepped in emotion, each syllable and musical note is wrought with an aching passion that cannot be taught or learned, but instead is something felt and soulful.
For those looking for the raw, gritty, powerful death/doom of Katatonia’s past will be sorely disappointed. This is a band which has seemingly closed that door, but what is on offer here is a good example of what contemporary Katatonia are all about.
7/10 Adam McCann
Kreator
‘London Apocalypticon – Live at the Roundhouse’ Nuclear Blast Records Thrash Metal
When it comes to Kreator, not much needs to be said, this is a band which are not only influential in the thrash, death and black metal worlds, but albums such as ‘Extreme Aggression’, ‘Coma of Souls’ and ‘Pleasure to Kill’ stand tall as some of not just Kreator’s best work, but are definitive albums in the heavy metal pantheon. More recently, Kreator have had a habit of releasing a live album to coincide with the conclusion of a tour, something to tide the fans over whilst the German titans work on their next album and that is exactly the case with the latest Kreator release ‘London Apocalypticon – Live at the Roundhouse’.
Although this is a brand new live album, the question is begged: “does the world need another Kreator live album?”, unlike the previous live album ‘Live Antichrist’, which chooses the best performances from tour to present, ‘London Apocalypticon…’ is comparable to ‘Dying Alive’ and the double ‘Terror Prevails’ which focus on just one particular concert. This means that the listener gets the full fury of what it means to see Kreator live; not just a relentless onslaught of thrash metal, but a warts n’ all performance. Tracks here are a raging inferno of hate as new songs such as ‘Satan Is Real’ and ‘Gods of Violence’ stand tall against well tested classics like ‘Awakening of the Gods’, ‘People of the Lie’ and ‘Phobia’. However, as with all warts n’ all performances, Mille Petrozza’s voice does seem to run out of steam towards the end and whilst not struggling with things like ‘Violent Revolution’, it certainly has the wind taken out of it. Yet, this is the nature of the live beast and for a man in his 50’s, his performance is commendable at this tempo and fury. Yet, is this album going to appeal to the passing fan of Kreator? The answer is probably not, it is an excellent live performance and worthy of a listen, but when it comes to purchasing this album; it is probably best reserved for hardcore Kreator fans. 80/100 Adam McCann
Killswitch Engage
‘Atonement’ Metal Blade Records Metalcore
There is no denying that since they arrived on the scene in 2002, Killswitch Engage have gone from strength to strength and become one of the golden boys of the modern heavy metal scene. Not only have Killswitch become heavily influential in their relatively short life span, but they are now starting to become accepted amongst the metal elite through prestigious support slots with Iron Maiden and Clutch. This year has Killswitch Engage launch their eighth studio album and third album since original vocalist Jesse Leach returned to the band, ‘Atonement’.
Over the years, Killswitch have perfected their metalcore formula down to a fine art and once again, this stands tall on ‘Atonement’; yes, there is nothing here that Killswitch haven’t done before, but because this tried and tested routine works, all the focus is now on the band’s song writing and crafting skills. It is safe to say that with ‘Atonement’, Killswitch Engage have outdone themselves, each song has that an excellent build up with melodic hooks that are only intensified through an intense dual vocal battle between Leach and guitarists Adam Dutkiewicz and Joel Stroetzel which brings each song to climax before crashing it back to where it began with breakdowns so tasty, it is almost possible to hear the wall of death already forming with ferocious metalcore anthems such as ‘Unleashed’, ‘Us Against The World’, ‘I Am Broken Too’ and the ‘The Signal Fire’, the latter of which features former Killswitch Engage vocalist Howard Jones return to trade off growls and melodies with Leach in an orgasmic pinnacle that is bound to have fans of metalcore gushing with excitement. Furthermore, with ‘Atonement’ the metalcore stalwarts attempt to capitalise on their new-found fans within metal’s more classic register with ‘The Crownless King’, a track which features the thrash metal titan Chuck Billy of Testament fame where the band seemingly blend the worlds of heavy metal and metalcore perfectly. Killswitch Engage have delivered a relatively safe album, it does not push their boundaries far at all, but with it, the band have consolidated a sound that is both enjoyable to current fans and accessible to classic metal fans and with it, it might just be the best album that Killswitch Engage have released. 83/100 Adam McCann
Kamion
‘Gain’ Independent Release 2019 Heavy Metal
Kamion reformed in 2017 and since then, they have begun to plough their way into the heavy metal world releasing their debut album ‘Gain’ last year. But, the question is, does ‘Gain’ give a perfect example of who Kamion are?
The answer remains ambiguous, ‘Gain’ would be wholly appealing to fans of Metallica, Alter Bridge, Five Finger Death Punch and even Volbeat or Black Label Society, easily blending a wall of sound and raw power in with a foot stomping groove and meticulously crafted melodies. This gives ‘Gain’ a wonderful, modern sound, which is both meaty and accessible. Yet, whilst this sound may irk the stereotypical keyboard warrior metalhead, Kamion’s catchy songs are guaranteed to become stuck within the brain; tracks such as ‘The Reaper’, ‘Queen Of Hate’ and ‘Mr. Sucker’ really stand out as not only the best songs on the album, but also show who this band are with their tearing guitar riffs and venomous lyrical delivery. However, Kamion’s debut does show that a lot of work still needs to be done for these Italian metalheads; there isn’t enough hear to who the real Kamion are, but that isn’t a bad thing, ‘Gain’ provides some real structure and provides a fantastic platform for the band to build on for their future releases. 67/100 Adam McCann
Kreator
‘Phantom Antichrist’ Nuclear Blast Records 2012 Thrash Metal
Kreator spent much of the mid to late 90’s experimenting with a sound which was different and almost bordered on industrial at times and although the band wrote some songs which have become live staples since, these albums are extremely mediocre, especially when placed against other albums in the bands catalogue. The German titans managed to find their feet with the turn of the millennium with the fantastic ‘Violent Revolution’ in 2001 and the heavy metal world applauded a welcome return to form. Since then, Kreator have released a steady stream of albums which not only re-established the bands pedigree, but also sealed the reputation that Kreator were once more a band to reckoned with, each album pushing the band up and beyond their expectations, an example of this would be Kreator’s 2012 album ‘Phantom Antichrist’.
Kreator once more moved the goalposts with ‘Phantom Antichrist’ using the same method and blueprint which for the last decade had served the band substantially and as predicted, it served to propel the band forward allowing them to excel themselves. Obviously, there are a lot of ideas and motifs that repeat themselves through ‘Enemy of God’, ‘Hordes of Chaos’ and this album, presenting themselves as unity, anti-fascism and war and death, but each time, Kreator broach these subjects, it offers something new and exciting. Because of this ‘Phantom Antichrist’ not only oozes the aggression and power which can only go so far, but also is backed up by song writing and craftsmanship. The guitars of Mille Petrozza and Sami Yli-Sirniö cut through the music like a distorted melodic chainsaw and when coupled the powerhouse rhythm section of Christian Giesler and Ventor create the Teutonic cacophony that has become one of the leading names in the thrash metal movement. ‘Phantom Antichrist’ shines brightly because it contains a beautifully crisp production; the pounding rhythmic double bass is so clean and sharp that it is like standing in the front row at a concert, but alongside this, Petrozza’s unique snarl can be clearly heard, understood and appreciated.
The vocal talents of Mille Petrozza have come on leaps and bounds since the primordial days of ‘Flag of Hate’, yet in this modern era, Petrozza’s lyrics and vocal delivery are one of the main appeals of Kreator and ‘Phantom Antichrist’ is bursting to the brim with some of the band’s best work to date. Tracks such as ‘From Flood Into Fire’, ‘Civilization Collapse’, ‘United In Hate’ and the title track not only solidify the bands reputation, but also consolidates the album as a classic in the modern era.
Although as an album ‘Phantom Antichrist’ is musically a far cry from Kreator’s best known work of ‘Pleasure to Kill’, ‘Coma of Souls’ or ‘Extreme Aggression’, this album can stand proud, not only as a gleaming example of Kreator in the 21st century but also ‘Phantom Antichrist’ can have all the pomp of being undoubtedly one of the best heavy metal albums of 2012. 88/100 Adam McCann
Kobra and the Lotus
‘Prevail II’ Napalm Records 2018 Heavy Metal
Back in 2016, Kobra and the Lotus (KATL) announced that their next release would not just be a single album, but two separate albums; ‘Prevail I’ being released in 2017 with its counterpart being released a year later in 2018. With this knowledge in hand, the heavy metal community braced itself for what could be two very lacklustre albums with a handful of decent tracks spread across the pair.
This would not appear to be the case, KATL excelled expectations with ‘Prevail I’, but with this, it begged the question that the band had done it once, would KATL be able to do this again in such close proximity with part two following suit? That answer would be yes, ‘Prevail II’ easily manages to keep pace with its older sibling, even surpassing it at points. This has led ‘Prevail II’ to feel much more tried and tested, rather than the leftovers that couldn’t quite fit on former album.
‘Prevail II’ rockets forward from the off with an excellent opener in the shape of ‘Losing My Humanity’, a track in which vocalist Kobra Paige manages to once more demonstrate her powerful war cry. Moreover, with ‘Prevail II’, Paige has managed to curb her ability to sing in an over-enthusiastic and dramatic style, leading both albums to actually be very enjoyable. Furthermore, this plays directly into the hands of KATL, particularly during the faster and more aggressive tracks such as ‘Losing My Humanity’, the rousing ‘My Immortal’, ‘Let Me Love You’ and the driving ‘Velvet Roses’.
However, just like its predecessor, ‘Prevail II’ struggles with the slower songs, ‘White Water’ begins with all the intentions of being more than decent, but instead, the penultimate song peters out the album early. This is aided by the final song, a woeful cover of Fleetwood Mac’s ‘The Chain’, a song which builds up and up before fading out before that famous bassline kicks in which makes the song and therefore renders the song rather pointless and dull. Overlooking this in all honesty, waste of two and a half minutes, ‘Prevail II’ is an album which when it is strong, is enjoyable and energetic. Alongside Paige, there is some superb guitar playing courtesy of Jasio Kulakowski and Jurekk James with some excellent melodies and solos throughout.
For those that thoroughly enjoyed ‘Prevail I’, then its follow up will not disappoint you, KATL have certainly grown as a band since their 2009 debut, both in song writing and craftsmanship which certainly puts the band in a fantastic position to expand upon this release.
70/100 Adam McCann
Kiss
‘Creatures of the Night’ Mercury/Casablanca Records 1982 Hard Rock/Heavy Metal
By 1982, it had been a tough few years for Kiss, after the pop orientated ‘Unmasked’ and the ludicrous concept album ‘Music from the Elder’ the hottest band in the world suddenly found themselves struggling in a brave new world. Peter Criss was out of the fold replaced by the hard-hitting Eric Carr and Ace Frehley’s fate would be hanging by a thread, a ghost in the machine with Vinnie Vincent waiting in the wings to take his place.
This line-up would release ‘Creatures of the Night’, it would be Kiss’ heaviest album to date and the introduction of both Vincent and Carr can be held accountable for this. Carr was heavy hitting, straight and to the point, his ‘on the beat’ drumming provided a solid backbone for the Kiss of the 80’s, whereas Vincent brought with him a creative sense of writing, giving the Simmons/Stanley partnership a much-needed boost of new blood. It was no secret that Kiss had used outside influences to help write some of their recent work, but with ‘Creatures…’ Kiss brought in professional songwriters such as Jim Vallance and Bryan Adams to tweak their music, the result would transpire into some of Kiss’ best work in years. Tracks such as ‘War Machine’ ‘I Love It Loud’ and the title track are still played today as Kiss staples.
‘Creatures…’ is an album that reinvigorated a band that had lost its way in the late 70’s and early 80’s. Yes, as with every Kiss album, it does have its dull moments, but these are massively overshadowed by some excellent songs. Moreover, it is the more consistent Kiss albums and deserves to be mentioned in the same breath as ‘Destroyer’, ‘Alive’ and ‘Alive II’.
80/100
Adam McCann
The Killerhertz
A Mirror’s Portrait
Dr. Music Records 2017
Nice and Sleazy
6Following on from their debut album ‘A Killer Anthem’, The Killerhertz continue with their 80’s stadium style anthems mixed with a cutting edge modern sleaze sound for their second album ‘A Mirror’s Portrait’. These Danes know their audience exceptionally well and have used this to crawl out from Copenhagen underground with a sound that clinches onto later Mötley Crüe and post-Sebastian Bach Skid Row mixed with the more established Scandinavian bands such as Crashdïet and Sister. The Killerhertz have somewhat of a darker edge to them and although enjoyable, this comes through during the lead-off single ‘Teenage Rebellion’, the searching ‘Pursuit For Perfection’ and the title track.
However, The Killerhertz are not a cookie cutter band, vocalist Thomas Trold is capable of twisting his voice, at times sounding like an amalgamation of Vince Neil and Simon Cruz, whilst other times sounding like Dave Mustaine, particularly evident on the explosive track ‘Savior’, in which The Killerhertz sound like a Megadeth outtake.
‘A Mirror’s Portrait’ is full of the clichés that you expect, each song has that melodic hook synonymous with this genre of music. Yes, ‘A Mirror’s Portrait’ is predictable and doesn’t contain anything you haven’t heard before, but that isn’t necessarily a bad thing.
66/100 Adam McCann
Teenage Rebellion; The Killerhertz, 'A Mirror's Portrait', 2017; Dr. Music Records
Kobra and the Lotus
Prevail I
Napalm Records 2017
Na na na na na na na na na na na, Batman Metal!
It is a bold move to release a double album or an album of two parts, several bands have done this in the past to varying degrees of success; Guns N’ Roses, Judas Priest, Iron Maiden, Metallica and Sixx:AM to name a few. Canada’s Kobra and the Lotus are now attempting the feat of ‘the two part album’, with the first half of 2017 seeing the band release ‘Prevail I’ on the 12th May with Part II allegedly seeing the light of day later in the year.
Led by the enigmatic Kobra Paige, Kobra and the Lotus broke through to international recognition in 2009 with a sound that floats between your standard female fronted heavy metal band and your Scandinavian power metal. Kobra and the Lotus achieve this by playing a sort of modern heavy metal sound that would appeal to fans of Huntress and Benedictum, touching upon the power metal flairs of Unleash the Archers with the rhythmic pounding of the double bass drum and the undeniably perfect soaring vocals. However, unlike Unleash the Archers ‘Prevail I’ does not wander too far into fantastical themes, preferring to stay much more on personal themes such as ‘Specimen X (The Mortal Chamber)’ and ‘Manifest Destiny’. This puts Kobra and the Lotus more on par with their female fronted European counterparts obviously without the symphonic elements attached.
‘Prevail I’ fires into ignition with the spectacular one-two punch of ‘Gotham’ and ‘TriggerPulse’, both of which were chosen beyond doubt to be released as singles. Kobra and the Lotus set the fire burning for ‘Prevail I’ by initially releasing ‘TriggerPulse’ – possibly the best track on the album with its palm muted chugging build up, each chord emphasised by the hammering of the bass drum giving the beginning of the song an almost metalcore feel, a fact made stronger once the guitar begins to arpeggiate notes. Fantastic musicianship aside, it is the powerful classically trained vocal of Paige which, when coupled with a modern production sheen steals the show and aids ‘TriggerPulse’ into being one of the stand-out tracks on ‘Prevail I’
Quite predictably, ‘Gotham’ is themed around the Detective Comics vigilante crime-fighter Batman. As ‘Gotham’ spurs ‘Prevail I’ into life, Paige’s vocal soars effortlessly, ascending and descending like the caped crusader against the Gotham skyline with lyrics such as: “become the corruption with wings of destruction” and “this city is evil” capable of making any Batman fan drool with excitement. Could this be the start of a new trend? We have all heard of pirate metal, but now Batman metal? Unfortunately, ‘Prevail I’ tails off as it begins to wander into filler territory with nothing that you haven’t heard before in this sort of music. Music videos were produced for both ‘You Don’t Know’ and ‘Light Me Up’, which are sadly some of the weakest tracks on the album and luckily these are saved by being bookended by the much better ‘Specimen X (The Mortal Chamber)’ and ‘Manifest Destiny’. Once more, another album is sullied by a rather boring instrumental track and although it gives guitarist Jasio Kulakowski a chance to shine with some fantastic sweeping against the overpowering personality of Paige, you can’t help feeling that you’re listening to an Yngwie Malmsteen outtake from 1991.
As they say, all’s well ends well and ‘Prevail I’ concludes rather strongly with the battle rousing ‘Hell on Earth’ and ‘Prevail’, the latter of which would give Huntress or even Doro Pesch a run for their money. As the dust settles with ‘Prevail I’, you can’t help wondering if ‘Prevail II’ will match up to standards or whether Kobra and the Lotus have spread themselves far too thin over two albums and instead of getting one decent album, you come away with two albums no better than average.
72/100
Adam McCann
Gotham; Kobra and the Lotus, 'Prevail I', 2017; Napalm Records
Kreator: 28/02/2017
Manchester O2 Academy 1
Manchester 28/02/2017
Teutonic Gods of Violence come alive
At times, it feels like forever since Kreator last toured in the United Kingdom with Arch Enemy and Vader. So tonight in Manchester, there is an anticipation in the air waiting for the masters of the Teutonic thrash metal to arrive on stage as the pressure begins to build to boiling point as Kreator’s 'Choir of the Damned' intro tape begins to play. Even with Sepultura, the venue tonight seemed rather empty, but turning around as 'Choir of the Damned' played, tonight, it was a full house with a lot of thrash fans here to see Kreator alone.
Kreator tear onto the stage with 'Hordes of Chaos' from their 2009 album of the same name as the tinderbox erupts into an ever increasingly large pit. How do Kreator follow this? With 'Phobia' of course, with Mille Petrozza sounding as good now as he did 25+ years ago as he stands strong, centre stage encouraging the audience to continue going crazy.
Currently touring in support of their latest album, the fantastic 'Gods of Violence', Kreator dedicate a few songs of the set to this album, such as the brilliant 'Satan Is Real' and the rather poignant 'Fallen Brother'; a song dedicated to those heavy metal heroes that have met an untimely demise. During 'Fallen Brother', images shift across four, very small video screens featuring the likes of Cliff Burton, Dimebag Darrell, Bon Scott and well, Prince, but inspiration comes from many places it seems.
Unlike with most tours to support a recent album where you’re more likely to get a set stuffed to the brim of new tracks. Kreator choose cherry pick from a good chunk of their albums, playing songs from the likes of 'Coma of Souls', 'Phantom Antichrist' and 'Extreme Aggression' as the crowd erupts into an ecstasy of violence appreciating every note and beat that comes from Kreator.
Set List:
Hordes of Chaos (A Necrologue for the Elite)
Phobia
Satan Is Real
Gods of Violence
People of the Lie
Total Death
Mars Mantra/Phantom Antichrist
Fallen Brother
Army of Storms/Enemy of God
From Flood into Fire
Apocalypticon/World War Now
Hail to the Hordes
Extreme Aggression
Civilization Collapse
The Patriarch/Violent Revolution
Flag of Hate
Under the Guillotine/Pleasure to Kill
Tonight, Kreator are literally on fire, literally, during the pyrotechnics in 'From Flood into Fire' and from the get go, Kreator tear the Manchester Academy a new hole as they brutally bash through song after song relentlessly. Petrozza interacts briefly with the crowed, tending to focus more upon the music at hand, he does however, tease the audience with raising the 'Flag of Hate' whilst using the old chestnut of getting each side of the room to ‘challenge’ each other to be louder. Bringing the whole show home with 'Flag of Hate', 'Under the Guillotine' and 'Pleasure to Kill' as Kreator leave the stage leaving the audience begging for more with chants of KRE-A-TOR!
Kreator played a fantastic, aggressive show tonight that could already stand out as one of the best in the year. Kreator have been one of the trailblazers in the German thrash metal movement and tonight, Kreator proved that they are truly the Gods of Violence.
Adam McCann
Fallen Brother; Kreator, 'Gods of Violence', 2017; Nuclear Blast Records
Kreator
Gods of Violence
Nuclear Blast Records
2017
Teutonic Gods of Violence come alive once more
The beginning of 2017 is starting to look a lot like the last few years in heavy metal, lots of bands releasing new albums, but not just run of the mill, let’s do another record, these bands are releasing albums of their careers. A lot of these bands are beyond their zenith, but are now enjoying life beyond the huge arse fucking that the major labels dealt them, they have their own creative control and this is one of the reasons why we have seen such an influx in well above par records in recent years.
This time it is Teutonic thrash metal legends, Kreator, to take centre stage with their latest release, Gods of Violence. Debatably, the German thrash metal movement is considerably more brutal than its Transatlantic counterparts with Kreator always being in the forefront, standing alongside the equally brutal Destruction and Sodom. Just like many bands, Kreator may have strayed from their thrash metal roots in the 90’s and experimented with a more Industrial sound, but since the turn of the millennium, Kreator re-embraced their original sound with a more mature and experienced vision.
In true heavy metal fashion, 'Gods of Violence' begins with an introductory instrumental, the marching 'Apocalypticon' before bull-rushing into the formidable 'World War Now'. In fact, formidable is a great way to describe the entire of 'Gods of Violence', the song-writing, craftsmanship and musicianship is top notch and Mille Petrozza sounds as fresh as he has ever been with his voice substantially better than in his younger days. How do you push beyond 'World War Now'? It is obvious to Kreator, with the superb 'Satan is Real' with its simple droning, almost chant like chorus that will get stuck in your head.
Each song on 'Gods of Violence' bats back and forth, easily memorable and enjoyable barring the rather unnecessary 'Lion with Eagle Wings'. The title track itself begins with an acoustic fingerpicking that is reminiscent of Metallica’s 'Fade to Black' at times before ploughing at break neck speed into the fist in air simple chant of “We shall kill!”. In fact, that could sum up 'Gods of Violence', each song relies on that one little hook, that one little niggle that once it gets in, it has you and before you know it, you’ll have 'Gods of Violence' on repeat.
Kreator have never been a band to shy away from tough lyrical subjects and even taboo in some parts of the world. 'Side by Side' challenges homophobia, not just in heavy metal, but in world and for those nay-sayers in the world who say that heavy metal doesn’t write beautiful songs, then this is an example of how the heavy metal world supports people no matter their race, colour, creed or sexuality. A simple reminder if you ever needed one that heavy metal has no boundaries. 'Gods of Violence' also gives a beautiful eulogy to the late Cliff Burton, as well as the sheer amount of musicians and fans of the genre who are no longer with us through 'Fallen Brother'.
With 'Gods of Violence', Kreator have delivered an album of high quality and is definitely a must add addition to any thrash metal fans catalogue. It is still early in the year, but it is doubtful that any thrash metal album will top this in 2017, 'Gods of Violence' is fun, it is memorable and above all, it makes you want to play it over and over again.
78/100
Adam McCann
Satan Is Real; Kreator, 'Gods of Violence', 2017; Nuclear Blast Records