You cannot have been into metal in the last two decades or so and not know Norwegian band Nocturnal Breed, whether you have listened to their material or not. The band has charged on without any wavering, flying the flag of old school metal since 1996 and it is 1997 that gave me my first listening experience when I got a copy of their debut ‘Aggressor’ which received commendable reviews as I recall from the metal music press of the time. The band has been consistent through their discography, refusing to change, maintaining their stalwart affection for heavy metal done in a way that steers clear of studio trickery favouring a retro yet modern approach.

However, I found this seventh album incredibly frustrating to listen to, primarily because when the highs appear they are exceptional, but also there are periods where the album seems to lull. Case in point is the title track which kicks the album off, and where you would expect some heads down neck snapping metal mayhem instead the song is like a five intro piece with whispered vocals that are haunting and mystical yet you’re just wanting those minutes to hurry by or at least blend in a riff break. Normality resumes with ‘Thrash Metal Hatesaw’ after the ambivalence of the opener, as the song is pure Nocturnal Breed, rampant rhythms and catchy hooks straddle the throaty vocals that had me scribbling down German speed metal for some reason.

‘Knights Of Denim’ (someone is going to create a band with that name I’m sure) continues the retro 80s by crafting an epic multifaceted song that reeks of blackened heavy metal using an atmospheric and alluring backdrop for the tapestry of riffs, hooks and lead work that adorns it. It has savagery too, not the venomous hate spewing kind, but more to do with the aura as ‘Salt The Wounds’ is equally on the epic front clocking seven minutes. Somehow the band always manages to make the song interesting, repeating moments occasionally but always diversifying wherever possible too, through screech led vocals to copious riff changes.

That quagmire I mentioned appears when ‘Atomic Cruiser’ starts, and far from being the swingeing scything metal track with a title like this, it is very similar to the opening title track, preferring ghoulish atmospherics that acts like a bridge to the black thrash mayhem of ‘Raise The Flag’ with its awesome riff that owes plenty to 80s crust punk. There’s also robotic like tone to the vocal as the tune incorporates some atmospherics too that I felt didn’t work.

‘Lady Vampire’ has an old occult vibe with eeriness from the riffing linking with the 80s style that has an obsidian shroud to it. Again there are atmospherics included to add some texture as noticeably the sound is different here and I did wonder if the song was recorded at another studio or on a previous occasion and added to the release, which isn’t a criticism, just something I thought was different. ‘I Ain’t Marching No More’ is potentially a homage to the late great Lemmy, judging by lyrics and indeed has a full Motörhead styled riff you cannot fail to enjoy.

The last three tunes are considered bonus tracks for the CD version of the album and include another atmospheric piece titled ‘I Felt Nothing’ before two epic tracks clocking near the eight minute mark. Again the sound is different on these bonus tunes and sound like they’ve come from demo recordings exhumed from the Nocturnal Breed vaults somewhere, the pick of which is ‘Blitzhammer’ with its grating approach and stripped back searing lead work and primal rage.

Whether this album will grow on me with future listens is hard to say, at 70 minutes plus it felt like an endurance test but there are plenty of tracks here to satisfy the Nocturnal Breed fan as I thought, maybe, I should listen to the album without those lengthy intro or interlude pieces instead.

(7.5/10 Martin Harris)

https://www.facebook.com/Thrashiac777NocturnalBreed

https://nocturnalbreedofficial.bandcamp.com/album/carry-the-beast