Register Forgot login?

© 2002-2021
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

These Are Not Sweet Motors Made of Chocolate - 84%

bayern, December 16th, 2020

Nope, not by a long shot; it’s really good that the metal and the chocolate industry in Belgium have been kept separate all these years… otherwise, there was no way these upstarts could have taken off thus giving rise to a steady quality, not so much quantity-wise, scene. I mean, it’s sticky this chocolate, it gives you a glue-like anti-inertia; it won’t make your engines run on full-throttle… although it does give you energy when devoured in copious amounts.

I’m not sure how much chocolate our friends here had devoured during their spawning stages (and not only), but their rowdy proto-speed metal tactics from the early-80’s must have made everyone from Venom to Raven green with envy, and not only because behind the mike they possessed a really capable emotional female singer, the name Kate de Lombaert. Yep, pioneers in more ways than just one, this cohort meant business, one that had nothing to do with sugar, sweet teeth and other sticky distractions.

The girl’s fearsome spat-out antics paired very well with the no-bars-held musical approach, one that was reflected in two whole full-lengths in 1983, and one that rivalled Satan’s first, for instance, every bit of the way. Yep, Belgium got speed metal talent, and some more; and not only but the more trained ears could easily detect more belligerent thrashy tunes peppering the soundscape. With thrash metal already a fulsome genre by the time the album here hit the stores, the expectations were, supposedly, for a thrash-dominated engine…

well, if we exclude the closing duo (the title-track, “Satan s Delivery"), evil sinister pieces with overt shades of Metallica’s debut, the prevalent material is the good old speed metal, excellently performed, the guys (and a girl) epitomizing the gallop more fully than before: just check out "Warriors of the Dark" and "Lost in Hell", and get inspired to breed fast impetuous horses from here to the end of the world. De Lombaert is in her nature throughout, leading the hyper-active showdown with passion, emitting both aggression and lyricism, the latter largely gracing the few meek-ish radio-friendly anthems (“Halloween Queen”, “Let Me Die”) scattered around, the band covering a wider ground by tasting a couple of more bitter cheese brands.

Chocolate, cheese, (sweet) cheetahs… I’m not sure where this last one came from, but the point I want to make is that the party never ends here, the engine roars, the beast grins threateningly, the beauty sings her heart and soul by showing her sharp teeth as well every now and then… everyone is up to the challenge, no doubt, with high-speed riffs dominating the setting, mortifying all attempts at sing-along friendliness. The band do nothing wrong, sticking to the familiar approach for a third consecutive effort, and apparently depleting it, as they may have decided, as shortly after this album’s release they folded.

A forgotten live from the distant 1984 saw the light of day in 2009, followed by a compilation in 2016… signs that the engine in the Acid camp was shaking off the rust… sure thing but then an argument followed suit, between De Lombaert and the other founding member, the drummer Anvill (real name Geert Ricquier), which grounded things to a halt once again. It’s not very clear what’s happening, and who will inherit the original name, but presently both musicians are intent on proceeding under the Acid moniker… I don’t know; I’d personally prefer to hide somewhere until this potentially combustible “beauty vs. the beast” dispute subsides.