Review by Felix on October 11, 2020.

I don't want to sound like an advertising agency, but sometimes I want to scream: "Here comes the New Wave of German Thrash Metal!". Rationally observed, this is definitely an exaggeration. Due to the rather sad evolution of the music business, it is almost impossible that new bands will ever reach the status of legends like Sodom, Kreator and all the other guys of the pioneering days of the sub genre. Nevertheless, young formations like Traitor or Pripjat keep the flag of thrash metal flying. Skeleton Pit, formerly unknown as Pissdolls, do not stand in the shadow of the aforementioned groups. Instead, they are fighting for their place at the head of the movement.

The three-piece scores with a debut that is equipped with a perfect sound. It seems as if "Reign in Blood" is still a very good point of reference for new thrash productions. In view of this orientation, the slaying guitar sound and the clearly defined drums are almost a matter of course. Therefore, I appreciate in particular the fact that the belligerent bass guitar is not sidelined by the guitar. The pumping sound of the four strings marks a very strong detail and is co-responsible for the relentlessness of the mix. Of course, the lead vocals also play an important role for the overall appearance. The guy who is at war with his own vocal chords sounds slightly like Tankard's Gerre, because he has a similar accentuation. Every now and then, the approach of Skeleton Pit lies in close proximity to that of the harshest songs of the beerdrinkers from Frankfurt am Main. Tankard's "The Horde" seems to be a favourite tune of the guys of Skeleton Pit. Finally, song titles like 'Drink Fast or Die' underline their penchant for the Godfathers of alcoholic metal. But the first outputs of Holy Moses have also left their traces. The fastest parts of 'Target for Tonight' with their flying bass and guitar lines remind me of some punk-affine songs of the early albums of Sabina and her permanently changing henchmen (motto: cheaper by the dozen). Did I use the term "punk"? The all clear can be given. No need to panic, Chaos at the Mosh-Reactor provides thrash metal which was brewed strictly in accordance with the German purity law.

The entire debut work offers riffs that are doused with a remarkable amount of technicality, but this does not mean that Skeleton Pit confront the listener with progressive or overly complex structures. It takes three or four runs to be familiar with the songs. Nevertheless, some single sections reveal their strengths immediately. The catchy chorus of the closer 'Tits to Die For' should not go unmentioned in this context, not only because of its stimulating lyrical content. But fine lyrics are good, fine music is better and of more importance. Skeleton Pit know their order and they are familiar with the priorities as well. My concerns after the opener, which cannot fully convince with regard to its relatively stupid chorus, do not come true. Already the directly following 'Spreading the Virus' makes clear that the guys are able to create fascinating gold nuggets of thrash. In a matter of seconds, the opening riff pulls the listener into a song which rattles through at breakneck pace. Slightly malignant riffs and a penchant for high speed rhythms shape the next tunes, only 'Milling Drilling Killing' suffers from the same disease as the opener; its dreary chorus does not work. But in general, Skeleton Pit prove their song-writing skills in a sustainable manner.

The clever band does not make the mistake of emphasizing its "funny" side too much. Admittedly, strange creatures like zombies and mutants seem to play a great role in the lives of the three boys. However, the album is not based on an ironic attitude and features like ferocity, unbridled power and pinpoint precision are not swept under the carpet. Skeleton Pit leave no doubt; they do not only flirt with the stylistic devices of thrash, but they live in a stable relationship with the genre. Therefore, one thing is certain. I don't know whether a "NWOGTM" is just around the corner. But if this wave is rising in the coming months, Skeleton Pit will be part of it.

Rating: 8 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10

Review by Felix on February 28, 2020.

I have lived each and every day of the eighties. It was a great decade and sometimes I wish I could go back in time, in particular after every new look in the mirror. Nevertheless, I also admit that sometimes the wallpapers were ugly during these years, not as hideous and glaring as they had been in the seventies, but still dubious. In this light, the artwork of Lions Breed’s first, last and only album scores with authenticity. However, the artwork (and my small pocket money) was probably the reason why I did not buy a copy of Damn the Night. I mean, a girl in black tights gets stimulated by a Flying V – is this a kind of joke? Anyway, it was a big mistake to leave the different outposts of paradise, usually known as record stores, without having bought this work (yes, the internet was not yet invented. Glorious analogue times!)

The only track I knew was 'Live and Let Die'. It made me think of James Bond, but the song itself lacked action. I liked its riff, but this traditional mid-tempo number did not satisfy my appetite for thrash metal, simply because it was no thrash… And in polarizing times where no thrasher wanted to be caught in the act while listening to traditional or even “poser” sounds, this marked a severe disadvantage. Nevertheless, I was a fool, because the song has a decent chorus that keeps sticking in the mind. Frankly speaking, today I wonder that I spent my last Deutschmarks for Atlain’s debut, but not for that of Lions Breed, because both formations sound confusingly similar. They preferred the same degree of heaviness at the interface of speed and traditional metal and their singers Ulrich Rohmann (Lions Breed) and Peter Müller (Atlain) seemed to use the same vocal cords. They have the same high-pitched approach and they use it competently. Rohmann’s minimally more melodic voice has charisma, even though it does not sound very masculine from today’s perspective. But as mentioned before, we are speaking about an album of the eighties and this kind of vocals was absolutely socially accepted. Only Living Death’s Toto went one step too far, but that’s another story.

Today I know that 'Live and Let Die' is an unspectacular yet strong piece of metal, but it is not among the highlights of the manageable catalogue of Lions Breed. Other songs take the crown. In chronological order: 'Heavy Current' is an up-tempo opener that has a shady flair and Rohmann’s voice sounds like a siren when singing the song’s name. No useless breaks disturb the smooth flow of the track. Progressive sounds were not the playground of the German pioneers and Lions Breed made no exception. The dudes from Gelsenkirchen (neighbours of the more steadfast Tom Angelripper) concentrated on unerring riffs and this way of proceeding gave 'Searover' its inner strength. The beginning of 'All Night Be Damned' is also very promising in view of its exciting riff which can be understood as a distant relative of Accept’s “Princess of the Dawn”. Perhaps the song gives the excessive guitar solo too much room, but it is still a juicy piece of meat. The “Defenders of the Faith”-influenced 'Neon City' shows the full potential of the band for the last time. The remaining tracks avoid big mistakes, but it was probably no coincidence that they had to take a place on the B side.

The album shines with a crisp production and even though it cannot hide its advanced age, it still spreads lively vibes. The warm sound of the eighties embraces the listener in a friendly yet strict way. It’s no flawless mix, just listen to the pretty powerless drumming at the beginning of the closer, but it brings back the spirit and the sound of the mid-eighties. This technical frame and the fact that all songs can rely on very solid riffs and effective choruses give the album its class. These features and the band’s down-to-earth mentality as well as the urban atmosphere of the entire material make even slightly less thrilling songs like 'Lady of the Night' (please ignore the kitschy title) to little Teutonic metal feasts. And so, I am in a nostalgic mood… and I want to see a German metal festival with Lions Breed, Atlain, Steeler (who are not allowed to perform songs from their third and fourth album) and Samain (who only play “Straight Hammered Creed” three times). But maybe it’s better that my wish does not come true. I see enough old men when I look into the mirror – I do not need to see more representatives of this not so sexy species.

Rating: 7.7 out of 10