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Too damn much filler! (Not really) - 91%

Thunderwarrior91, December 30th, 2017

It is very well documented in metal that when a frontman changes his horizons, hordes of fans become disgusted with those changes; although there are numerous enthusiasts who venture to give a chance to something new. There are bands that do this type of experimentation and then they were able to pick everything up and pull through after. Others bands did experience it twice and had survived the first time, but not the next time (you say Octagon?). Five years after releasing the magnificent Blood On Ice, Quorthon, striving to please his fans, did offer us a diverse material, ranging from viking metal to retro thrash stuff. The Swede was one of those who did burn their bridges at cost of giving us hymns of rebellion. The production itself is neither good nor bad this time. It's just Bathory sounding like Bathory.

Beginning with a great opener, it is a crushing and strident one that shows us the infallible identity of Bathory, and worthy to fit on a disc like Twilight of the Gods. Throughout the album, you can see Quorthon's vocals ability which is combined with a mixture of aggressiveness with a bluesy interlude that shows Quorthon's willingness to try new ways without damaging the project's armor. Without sounding like a transgression or a forced turn, this unique moment is an example of evolution that can be appreciated, especially considering that Bathory had to venture beyond its dominions in its last years. Yes, despite how good Nordland I & II were. Also, there are elements which coexist throughout the album, as the death 'n' roll song Krom, the death/groove impulsivity of Death From Above and the fun groove track Sudden Death. All these songs work fine in terms of riffs and solos. The 8+ minutes tracks are two sides of the same coin -like the first three songs- that bear witness to Bathory style, not necessarily in look for a communion point, but in taking advantage to the contrast in intensity transitions. This album, in addition to being pleasant in terms of the sound experience, is a concrete qualitative reference when it comes to imagining the versatile potential of Bathory's music.

I don’t recommend this to starters; this should rather be the last thing you should hear from this band. For some people, Quorthon was wrong for the third and last time. For others, this is simply a misunderstood work. Quorthon's insolence and daring to explore different sounds is more than remarkable. As if we talk about colors, surely this album would be a rainbow in terms of genre. This release can be seen as another enemy and is unquestionably forgotten in its chapter's history. And who knows, if not for Lake of Fire, we probably wouldn’t have other great experimental classics. It’s a striking album that shows Quorthon's versatility when we talk about writing songs in order to please his different fans. I even noticed that the weakest songs here were an improved version of what he had done in Requiem, and to a lesser extent, Octagon. The disc as a whole may be confusing and ambiguous, but you'll get used to it if you follow my tip of what to do with certain fillers, in the next paragraph.

Destroyer of Worlds was a good response to the long wait for a new Bathory album, as well as a return to form, but in a viking/death/groove metal format. Perhaps for some people, this will not be a fundamental piece of the band's discography, but the solidity of this work is undeniable on the compositional level. The brutal and sometimes melodic sections mix in a way that doesn’t lose the band's essence, so this work should be liked by those who followed them before, as well for those who know less about (maybe). After listening to the album a lot of times, I consider that the most disposable songs are 109, Kill Kill Kill and Bleeding. I did get the digital version of this record, and then I created my own tracklist based on 10 songs and 55 minutes. The album as a whole improves considerably and it is most certainly better than Octagon and Requiem.