Grand Magus are fast becoming one of the best metal bands anywhere. Following a big money (or not–drummer Sebastian Sippola left before recording started due to work and family commitments) transfer from the deceased Roadrunner Records to the relative big-time of Nuclear Blast, the release of the band’s sixth album ‘The Hunt’ sees the very metalStockholmtrio on the verge of some great things indeed.

Grand Magus’s work has always been characterised by strong song-writing. If there has been any weakness, it has probably been singer and guitarist Janne JB Christofferson’s vocals. On the evidence of ‘The Hunt’, the man is still not ready to belt out a note-perfect out ‘Nessun Dorma’ from the top of the Stockholm Kungliga Slottet, or shatter wine glasses with his top Cs – but then neither is James Hetfield, and at least Grand Magus don’t go round saying ‘Hell Yeah’ all the time. A sterling effort on the last album ‘Hammer of the North’ should already have won over all but the harshest critics to his vocal style, which is more about soul and character than icy perfection.

Despite this, ‘The Hunt’ continues the band’s ascent, rising above the heady heights achieved on ‘Hammer of the North’ like some kind of heavy metal Bifrost escalator (bear with me) toValhalla. The change in label has brought benefits in terms of recording. Sound quality on ‘The Hunt’ is luxuriant compared to the band’s previous efforts, being immediately sharper and more vibrant. The leap in technology is accompanied by a surge in ambition.

Grand Magus in 2012 have largely transcended their Doom and Stoner roots. This has proved a success. The transition from the easy irony of Stoner Rock to straightforward steel affords the band an honesty which fits their sparse, true metal sound. With the album artwork’s (conscious surely?) nod to Dio-era Sabbath’s ‘Mob Rules’ cover, and a cunning deployment of the ‘Heaven and Hell’ riff in opening track ‘Starlight Slaughter’ Grand Magus firmly and immediately nail their true credentials to the mast of the Heavy metal longship, while offering an indirect but compellingly metal tribute to deceased diminutive decibel deliverer, Dio. The studs n’leather publicity shots on their website underline the same message; there can be none more metal.

In terms of song writing, ‘The Hunt’, offers more variety in pace and some faster songs than the deliberate ‘Hammer of the North’. New drummer Ludwig ‘Ludde’ Witt, takes up where Sebastian ‘Seb’ Sippola (Grand Magus suck at nicknames) left off, with Cozy Powell-ish power drumming, which ideally fits Janne JB Christofferson’s restrained riffing. Most importantly the hooks and choruses remain are as strong as ever.  All in all, it sounds like Grand Magus.

‘Starlight Slaughter’ opens in restrained fashion before pumping into mid-paced traditional metal. Complete with baffling lyrics (‘Starlight Slarrr! Arise wolf-kind!’ – Dio would be proud) the song is perfectly crafted metal. It is followed by ‘Sword Of The Ocean’, which immediately ups the tempo, exhibiting another fantastic and quite senseless chorus.

The magnificently named ‘Valhalla Rising’ sounds like an extended series of choruses. Bold, catchy and again perfectly executed, while on ‘Storm King’ with its ‘You’re the Storm King’ chant, all is obvious and fist pumpable. ‘Silver Moon’ starts like ‘Headless Cross’ –era Sabbath before shifting gear to something quicker, akin to Judas Priest. An off-kilter time change is immediately compensated for by a perfectly pitched guitar solo. ‘The Hunt’ commences with finely wrought classical guitar, before a thumping, shifting verse. It could be Manowar, if Manowar were much, much better.  The chorus riff and mid-section are mini-masterpieces.

‘Song Of The Last Breath’ starts with classical guitar and a touch of cello to produce a quasi-ballad before breaking into an incredibly ambitious paean to “the mighty Thor” and Odin’s nine-day stint on Yggdrasil. It is then countered by ‘Iron Hand’, the fastest track on the album. This is a straightforward demolition ball of a song, and a perfectly pitched antidote to the preceding cleverness. Final track ‘Draksadd’ again could have been lifted from ‘Headless Cross’ and is a compelling, brooding number which has it all.

Breathtakingly good and staggeringly ambitious in places, ‘The Hunt’ will be prized by future metal generations as a masterpiece. This is what metal is all about. It doesn’t get better. Put your feet up and admire. Or bang your head. Whichever appeals.

There are only a few perfect metal albums in existence (‘Painkiller’, Heaven and Hell’ etc). ‘The Hunt’, from the cover to the final track is one of this holiest of holies. The 10/10 mark is reserved for this tiny percentage of albums. I don’t expect to use it again.

(10/10 Graham Cushway)