How time flies. It's already been 4 years since I had the chance to discuss KREATOR's Hate Über Alles . The old gentlemen are diligently releasing new albums, and Krushers of the World picks up where the last one left off, but feels more transparent and direct in production. The first two songs, Seven Serpents and Satanic Anarchy, come with the force and tempo one expects from KREATOR: double bass drums that hit the ears like a jackhammer, and guitar riffs that slice through the silence with the precision of a surgical scalpel. Here, it immediately becomes clear why the band has been among the undisputed masters of thrash for decades. The aggression and tempo of these pieces are exactly what makes the genre appealing: unbridled energy that sweeps me away instantly.
The songwriting on Krushers of the World remains true to proven patterns, and that's a good thing. The simplest recipes are often the best, and KREATOR master their toolbox perfectly. Raging riffs and relentless drum fire alternate with anthemic choruses that gain an almost epic character through melodies and choirs. Even subtle keyboards can be heard, adding an extra depth to the songs. Yes, those exhausting devices from the 80s that are actually banned in metal.
The title track Krushers of the World itself then moves towards mid-tempo march music. Like a massive, thundering colossus that advances slowly but inexorably. This song offers a welcome change and shows that KREATOR can not only rely on pure speed but also play with dynamic tempo changes.
A special highlight is Tränenpalast, which gains an additional dimension through guest vocalist Britta Görtz from Hiraes. While singer Mille Petrozza sounds like an angry metal warrior, Britta Görtz adds an almost demonic voice that elevates the song to another sphere. It's a shame that the lyrics are not available, as the Tränenpalast as a historical site in Berlin during the GDR carries special symbolism. Nevertheless, the song remains a fascinating listening experience, captivating through the combination of voices and the dark atmosphere.
In general, the lyrics of KREATOR are often rich in imagery, serving more the mood than a clear message. Perhaps that's part of the appeal. They leave room for interpretation and create a dark, almost mythical atmosphere. Whether the author has deeper meanings in mind or simply wants to convey a feeling remains his secret. This may also be secondary, and in the end, what matters is the impact of the music. We're not in a literature class here.
Another highlight is Blood Of Our Blood, which features a guitar battle reminiscent of the best times of bands like JUDAS PRIEST. Such moments show that KREATOR not only rely on raw violence but also appreciate craftsmanship and musical nuances.
The album also offers 6/8 shuffle metal that surprisingly works well. A constant gas pedal would make the album exhausting, so the variety ensures a pleasant flow. The speed metal riffs dominate, and the closing Loyal To The Grave sends the listener off with a thickly applied apocalyptic pathos. A small detail on the side: Did the drummer actually sneak a cowbell into the song? If so, it shows that KREATOR have not lost their sense of humor despite all the hardness.
Overall, Krushers of the World is an album that confirms KREATOR as masters of their craft. They demonstrate that they are still capable of playing their thrash metal with precision and passion without getting lost in experiments. I have no idea what long-time fans will say about this – as a relatively new listener, I can enjoy it well and will also check out the live implementation.
The quirky video for Seven Serpents rounds off the experience. A somewhat kitschy, AI-generated Medusa meets The Lord of the Rings, and the song already embodies all the qualities of the album. Those who like this will love the whole album. And those who like KREATOR will love this album anyway. It's that simple.
