Review by Felix on March 31, 2020.

It is always a magnificent moment of grandeur when a promising and promoted band decides to write, record and publish its magnum opus. The meaningful spirit of "now or never" is in the air and everybody feels that the day of reckoning is coming nearer and nearer. My German fatherland had this situation two times during the last century - the result is well known. "Never" in both cases. But here we have Watain, a horde that has proved its ability to write fascinating music a couple of times. Stop breathing for a moment, they challenge fate... and the result is "never".

Watain meander through newly developed musical regions. That's no surprise, because you cannot produce something greater than before while still doing things in the same way. But it's always a risk. A good neurologist is a good doctor, but he is probably not a good surgeon, although both professions require successful medical studies. Crude analogy, I know, but a good black metal unit is not automatically a good dark metal band, although both kinds of metal require solid guitars. 'They Rode On', the most discussed piece of The Wild Hunt, shows impressively that Watain are not able to open the gates to new musical dimensions without copying the formulas of other formations. I listen to a typical ballad with a calm beginning, clear vocals, emotional guitars and a more or less catchy chorus. But cheap and predictable emotionalism does not lead to a profound song. Nine minutes of mediocrity in the middle of the album kill its flow in an annoying manner.

Speaking of predictability, the first number after 'They Rode On' emphasizes the harsh side of the Swedes. Everything else would have been a surprise, because Watain are interested in keeping their bad boy image. Therefore, they must destroy the impression that they want to earn money with their music instead of following strictly Satanic (or any other non-commercial) ideals. This is slightly stupid. Worse still, Watain confirm the old rule that a stylistic change does not only result in mediocre tracks that rely on the new formula. This dilemma mostly goes hand in hand with the fact that a band is also unable to write great tracks on the base of their previous approach. 'Sleepless Evil' lacks conviction, exciting ideas and depth. Fortunately, the band has not completely lost its power. 'Outlaw', for example, shows a passionate band that has created a furious and lethal piece with an intelligent design. The slightly ritualistic frame of the track, I refer to the "in ya a huu" choirs (is this correctly written? Don't think so), gives the song an eerie aura.

No, Watain have not forgotten how to pen mighty songs. 'Black Flames March' combines majestic elements with an unholy atmosphere while revealing a lot of compositional ideas and a more than solid substance. The relatively melodic 'The Child Must Die' cannot be blamed for being lukewarm or ill-defined as well. Nevertheless, the entire album holds too many theatrical elements. Its opulent configuration matches the media book packaging and the album boasts with melancholic, dramatic and wistful sections, but can anybody tell me when exactly does the wild hunt start? The title track begins in a strong manner and has its charm, but any form of wildness is conspicuous by its absence. Instead, it seems to be a number that Quorthon (R.I.P.) forgot to put on "Twilight of the Gods". Watain want to be the current kings of black metal, but they do not show alternatives how this genre takes the next step. One should learn from the past, but it makes no sense to reanimate old recipes.

No doubt, the production deserves the attribute "perfect", because it supports the ambition of the band: to be still (a little bit) black while being acceptable for a greater target group of music loving people. But even the best mix cannot hide the fact that the old dogma "less is more" is still valid. For example, 'Holocaust Dawn' or 'Ignem Veni Mittere' just prolong the album. And at the end of the day, things are pretty easy. Giving yourself an ambitious aim is one thing, but to reach it is something completely different. Watain fail. They left nothing undone, but they just forged another decent (and overlong) black metal album. This is not enough for self-declared kings. Never.

Rating: 6.8 out of 10

Review by Felix on March 31, 2020.

It is always a magnificent moment of grandeur when a promising and promoted band decides to write, record and publish its magnum opus. The meaningful spirit of "now or never" is in the air and everybody feels that the day of reckoning is coming nearer and nearer. My German fatherland had this situation two times during the last century - the result is well known. "Never" in both cases. But here we have Watain, a horde that has proved its ability to write fascinating music a couple of times. Stop breathing for a moment, they challenge fate... and the result is "never".

Watain meander through newly developed musical regions. That's no surprise, because you cannot produce something greater than before while still doing things in the same way. But it's always a risk. A good neurologist is a good doctor, but he is probably not a good surgeon, although both professions require successful medical studies. Crude analogy, I know, but a good black metal unit is not automatically a good dark metal band, although both kinds of metal require solid guitars. 'They Rode On', the most discussed piece of The Wild Hunt, shows impressively that Watain are not able to open the gates to new musical dimensions without copying the formulas of other formations. I listen to a typical ballad with a calm beginning, clear vocals, emotional guitars and a more or less catchy chorus. But cheap and predictable emotionalism does not lead to a profound song. Nine minutes of mediocrity in the middle of the album kill its flow in an annoying manner.

Speaking of predictability, the first number after 'They Rode On' emphasizes the harsh side of the Swedes. Everything else would have been a surprise, because Watain are interested in keeping their bad boy image. Therefore, they must destroy the impression that they want to earn money with their music instead of following strictly Satanic (or any other non-commercial) ideals. This is slightly stupid. Worse still, Watain confirm the old rule that a stylistic change does not only result in mediocre tracks that rely on the new formula. This dilemma mostly goes hand in hand with the fact that a band is also unable to write great tracks on the base of their previous approach. 'Sleepless Evil' lacks conviction, exciting ideas and depth. Fortunately, the band has not completely lost its power. 'Outlaw', for example, shows a passionate band that has created a furious and lethal piece with an intelligent design. The slightly ritualistic frame of the track, I refer to the "in ya a huu" choirs (is this correctly written? Don't think so), gives the song an eerie aura.

No, Watain have not forgotten how to pen mighty songs. 'Black Flames March' combines majestic elements with an unholy atmosphere while revealing a lot of compositional ideas and a more than solid substance. The relatively melodic 'The Child Must Die' cannot be blamed for being lukewarm or ill-defined as well. Nevertheless, the entire album holds too many theatrical elements. Its opulent configuration matches the media book packaging and the album boasts with melancholic, dramatic and wistful sections, but can anybody tell me when exactly does the wild hunt start? The title track begins in a strong manner and has its charm, but any form of wildness is conspicuous by its absence. Instead, it seems to be a number that Quorthon (R.I.P.) forgot to put on "Twilight of the Gods". Watain want to be the current kings of black metal, but they do not show alternatives how this genre takes the next step. One should learn from the past, but it makes no sense to reanimate old recipes.

No doubt, the production deserves the attribute "perfect", because it supports the ambition of the band: to be still (a little bit) black while being acceptable for a greater target group of music loving people. But even the best mix cannot hide the fact that the old dogma "less is more" is still valid. For example, 'Holocaust Dawn' or 'Ignem Veni Mittere' just prolong the album. And at the end of the day, things are pretty easy. Giving yourself an ambitious aim is one thing, but to reach it is something completely different. Watain fail. They left nothing undone, but they just forged another decent (and overlong) black metal album. This is not enough for self-declared kings. Never.

Rating: 6.8 out of 10

Review by Felix on November 10, 2020.

How many bands can use the line "what shall we do with the drunken sailor?" without being immediately banned for all eternity. Maybe Alestorm (but their music doesn't work), Running Wild (but their music also causes instant tiredness) and, yes, Gama Bomb! The kings of hyper-fast, tongue-in-cheek thrash metal are back with a - lo and behold - pelagic album. I admit I had to stumble over Mother Earth for more than 52 years until I heard / read the word "pelagic" for the first time. Miserable fate of a landlubber! Yet now I am familiar with this linguistic jewel, thanks to the promo of Sea Savage. Nevertheless, this promo left me disturbed. I mean, can anybody handle it with information like this: "The pelagic tale follows the crew of the steamer 'S.S. Gama Bomb' as they voyage in search of a real-life Yeti, only to go slowly mad on the high seas. It also features songs about 80s and 90s movies, because Gama Bomb cannot help themselves." Guess I am the one who goes even earlier mad than the crew.

Did I babble about hyper-fast thrash? Well, it seems as if Gama Bomb have been sitting at the beach a little bit too long and the experience of the continuous alternation of ebb and flow has made them more tolerant. Songs like the outstanding 'Iron Blood' still have the pressure, vigour and tempo of their previous material, but there are also pieces that sound comparatively mild-mannered. Or is it just a question of nuances? The "woho-woho" background vocals in the pretty moderate opener do not really fit the sound that Gama Bomb have previously stand for, but they also do not characterize and ruin 'Judo Killer'. Instead, the album holds another dozen tunes that mostly fascinate with the Gama Bombian mix of juvenile nonsense and musical maturity. Of course, the music is of higher importance than any kind of joke, but Philly's not only sporadically appearing high-pitched artistry adds a funny yet wild touch. By the way, the wild component in the music of the band nearly scores with omnipresence - and we may not forget that this is already the seventh full-length of a unit that is in business since nearly two decades. How many other formations have called it a day in such a period or - worse - have become a bunch of lame guitar-holders with sick brains that can't remember how to write an energetic piece of power. Thank God, the unforgettable Beverly Hills Robocop or the Sea Savage, Gama Bomb are different.

The promo wants to make us believe that "Sea Savage is a very different beast from their previous albums", but come on, that's more or less commercially inspired gossip. Firstly, there is nothing beastly in the band's art and secondly,'Monsterizer' and 'Rusty Jaw' are typical, straight and trademark-emphasizing torpedoes that will not disappoint any friend of the formation. Almost the same goes for the hilarious 'She's Not My Mother, Todd' and 'Ready, Steady, Goat' is no kowtow to Impaled Nazarene, but an excellent, riff-driven mid-to up-tempo thrasher that fires brilliant riffs and lines into the amazed horde of freshwater sailors. Maybe it is true that Gama Bomb do not deliver more of the same, but it's still a short way from Speed between the Lines to the here reviewed album and ambivalent tracks like 'Sheer Khan' with its comparatively traditional heavy metal parts remain an exception.

And as if this were not enough, Sea Savage boasts an excellently sharp, properly transparent and absolutely non-sterile production. This means that the album with the great artwork featuring their gamabombinable mascot is at least the fifth full-length in a row which offers nothing else but high class thrash / speed metal. I don't know why the Yeti dwells in the sea, but I also never understood why some crazy dudes say that a monster is living on the ground of Loch Ness. All in all Sea Savage is probably no milestone in Gama Bomb's very strong discography, but it is still a very proper full-length. If the album would be a ship, it could be navigated across the open sea with great elegance; and if I take a look out of my porthole, I do not see many crews who manage their maritime duties in a better way.

Rating: 8.1 out of 10

Review by Felix on November 10, 2020.

How many bands can use the line "what shall we do with the drunken sailor?" without being immediately banned for all eternity. Maybe Alestorm (but their music doesn't work), Running Wild (but their music also causes instant tiredness) and, yes, Gama Bomb! The kings of hyper-fast, tongue-in-cheek thrash metal are back with a - lo and behold - pelagic album. I admit I had to stumble over Mother Earth for more than 52 years until I heard / read the word "pelagic" for the first time. Miserable fate of a landlubber! Yet now I am familiar with this linguistic jewel, thanks to the promo of Sea Savage. Nevertheless, this promo left me disturbed. I mean, can anybody handle it with information like this: "The pelagic tale follows the crew of the steamer 'S.S. Gama Bomb' as they voyage in search of a real-life Yeti, only to go slowly mad on the high seas. It also features songs about 80s and 90s movies, because Gama Bomb cannot help themselves." Guess I am the one who goes even earlier mad than the crew.

Did I babble about hyper-fast thrash? Well, it seems as if Gama Bomb have been sitting at the beach a little bit too long and the experience of the continuous alternation of ebb and flow has made them more tolerant. Songs like the outstanding 'Iron Blood' still have the pressure, vigour and tempo of their previous material, but there are also pieces that sound comparatively mild-mannered. Or is it just a question of nuances? The "woho-woho" background vocals in the pretty moderate opener do not really fit the sound that Gama Bomb have previously stand for, but they also do not characterize and ruin 'Judo Killer'. Instead, the album holds another dozen tunes that mostly fascinate with the Gama Bombian mix of juvenile nonsense and musical maturity. Of course, the music is of higher importance than any kind of joke, but Philly's not only sporadically appearing high-pitched artistry adds a funny yet wild touch. By the way, the wild component in the music of the band nearly scores with omnipresence - and we may not forget that this is already the seventh full-length of a unit that is in business since nearly two decades. How many other formations have called it a day in such a period or - worse - have become a bunch of lame guitar-holders with sick brains that can't remember how to write an energetic piece of power. Thank God, the unforgettable Beverly Hills Robocop or the Sea Savage, Gama Bomb are different.

The promo wants to make us believe that "Sea Savage is a very different beast from their previous albums", but come on, that's more or less commercially inspired gossip. Firstly, there is nothing beastly in the band's art and secondly,'Monsterizer' and 'Rusty Jaw' are typical, straight and trademark-emphasizing torpedoes that will not disappoint any friend of the formation. Almost the same goes for the hilarious 'She's Not My Mother, Todd' and 'Ready, Steady, Goat' is no kowtow to Impaled Nazarene, but an excellent, riff-driven mid-to up-tempo thrasher that fires brilliant riffs and lines into the amazed horde of freshwater sailors. Maybe it is true that Gama Bomb do not deliver more of the same, but it's still a short way from Speed between the Lines to the here reviewed album and ambivalent tracks like 'Sheer Khan' with its comparatively traditional heavy metal parts remain an exception.

And as if this were not enough, Sea Savage boasts an excellently sharp, properly transparent and absolutely non-sterile production. This means that the album with the great artwork featuring their gamabombinable mascot is at least the fifth full-length in a row which offers nothing else but high class thrash / speed metal. I don't know why the Yeti dwells in the sea, but I also never understood why some crazy dudes say that a monster is living on the ground of Loch Ness. All in all Sea Savage is probably no milestone in Gama Bomb's very strong discography, but it is still a very proper full-length. If the album would be a ship, it could be navigated across the open sea with great elegance; and if I take a look out of my porthole, I do not see many crews who manage their maritime duties in a better way.

Rating: 8.1 out of 10