(Napalm)
Rating: 8.0
In a sign of the digitally connected times we live, almost half of this album has already been issued: five of the eleven proper tracks (the title track is a minute long intro), including the disc closing Accept cover, were out, pre-release, as lyric videos/visualizers, singles, etc. Fine line between advance promotion and what the Red Hot Chili Peppers called, “Give it away, give it away, give it away now!”
Following the aforementioned intro, the band’s signature tune, “Destruction” (amazing it has taken Schmier more than 40 years to come up with a song by that name!) utilizes vintage titles (or allusions to the same) within its lyrics. Thematically, it’s a “We are (all) together, we are Destruction” call to arms, for metal fans. It’s not the first time they’ve gone down this road (see: “The Alliance Of Hellhoundz”, although that was a more flagrant name dropper). There’s an 8-bit guitar rhythm running throughout, but the “We’re Destruction” chorus is sure to be an in-concert favorite. At 5:23 it is the longest cut, and just one of two that eclipse the five minute mark.
As with Motörhead (iconic, one-name bass player/leader, who spent most of his career in a trio), there are no “new” albums, just updated variations on beloved themes. Sadly, there’s little hope that (m)any of these cuts (with the exception of the self-titled number, mostly for the “We’re Destruction!” chant/chorus) will survive the live show, beyond the current touring cycle. There are few slots in the setlist, with perennials like “Butcher” (#1 and/or #2), “Curse The Gods”, “Bestial Invasion”, etc., Like the ’27 Yankees, it’s tough to crack a line-up filled with all-stars.
That said, let’s examine the rest of the album. Schmier (like Lemmy) has no time for idiots, regardless of which side of the political or culture divide they reside. He enjoys poking them in the eyes, nevertheless. A female voice-over greats the much more frenetic “Cyber Warfare”, with its staccato hammering, complete with wild guitar runs/dives. Wild. Throughout the platter, the twin guitars lay down speedy, strafing fire, repeatedly.
Case in point, the full-on “No Kings No Masters”, released as an early taster of what’s to come. Latest single, “Scumbag Human Race’ varies in tempo and a close listen will reveal brief nods to both old Metallica and Slayer. “God Of Gore” return to the Teutonic side of the influences pond (fit firmly planted in Germanic thrash) although the over-too-quickly, galloping section is a nice, unexpected touch.
Slow and grinding out of the gate, “A.N.G.S.T.” keeps a low profile, rarely breaks a sweat. “Dealer Of Death” (is it me, or do a lot of these song titles sound like early ‘80s arcade game?) raises the temperature to lukewarm: a bit of a chug, with the occasional guitar sweep. Lyrically, it takes a swing at the German chemical giant, for their unsavory history in both World Wars. “Evil Never Sleeps” might be as close as Destruction have come to a ballad, but still megatons heavier than “one.” Truthfully, it’s more of a traditional rock song, but with Schmier behind the mic, it’s never can truly be sedate/commercial.
“Chains Of Sorrow” apparently concerns Greek mythology and the tale of Sisyphus (sure the music business can parallel that story, at times). The final original is “Greed”, a cautionary tale that warns, “Greed will make you blind.” As mentioned earlier, the true album-ender is “Fast As A Shark”, including the same scratched Tyrolean ditty that originally appeared on the Accept version.
Hard to make that one faster, but somehow Destruction did it.
