Speed Kill

When it comes to analyzing any sort of artistic output from a very unique geographical location, certain foundations for further inquiry need to be developed. The late 1980s and early 1990s was a period of drastic and dramatic change when it comes to the international scene, or more specifically, eastern Europe and the Asian continent. Bombarder experienced as its cradle, a constant state of uncertainty on all fronts. On the political front, the Yugoslav nation, following the death of Tito, started showing signs of divisions between the various nationalities that formed the syncretic essence of the Yugoslav construct. Religiously, Yugoslavia was also split into various groups, all adhering to a different religious thought.

Historically, Yugoslavia, apart from its modern character, was almost never truly unified. The catholic Croats were under the control of the Austro-Hungarian empire, while Serbia, Montenegro and Bosnia and Herzegovina were suffering another form colonialism but under a different tyrant, this time, the Ottoman empire. Bosnia and Herzegovina, the country of this band's origin, can be considered as a crossroad between two different civilizations. To the west, you have the nominally western Christian democracies, and to the east, you mostly have Islamic theocracies, given a political character by nations such as Iran, Iraq, Turkey and other Muslim-dominated countries.

This situation of religious diversity has not worked as well as it potentially can on paper. Kosovo, one of Bosnia's neighbors, has been in a constant state of ethnic and religious civil war between orthodox serbs and muslim Albanians. Unfortunately, this frame of reference can be used to examine Bosnia and Herzegovina too. The masters behind this piece of art, know the horrors of war all too well, with two of the original members of this band dying during the civil war which erupted in the Balkans. This oppressive state of existence, can be used as fodder for expressing frustrations and fears in a musical and constructive way. The chaotic nature of the music present on this cult classic perfectly transcribes into music the mental anguish caused by war.

The music present on this release can be described as a blend between old-school Teutonic heavy metal, speed metal ala-Venom and punk-rock in vein of Motorhead and Discharge. The entire affair is on the whole, a very modest attempt at creating something that could withstand the test of time and which could provide an effective, even in temporary release from the bleak reality of the times. Most of the tunes are very upbeat, however, a sinister aura is always lurking behind the apparent positivity of the upbeat nature of the music. There is little in terms of technical proficiency, however, when it comes to thrash/black music, the most important point to get across with your music, is the uncompromising ferocity behind the drumming, the guitar-tone and the vocals. Several solos can be enjoyed on this release, and they are sprinkled all throughout that release which keeps the listener on edge, expecting further six-stringed madness.

The production of this piece of musical work is nothing short of being the perfect archetype of the standard a lot of underground bands yearn for. The music sounds extremely stripped down, raw and pure. There is no technical trickery to be found here. What you hear is what you get, and that is a-okay with me since the music on here is comendible. I would suggest this to everyone who enjoys listening to early speed metal bands and first-wave of black metal bands like Bathory.

Formed in 1986 in the former country of Yugoslavia (which would later become Bosnia and Herzegovina), Bombarder is pioneering speed/thrash metal band that led the charge for metal bands behind the red curtain. Though the band has soldiered on, in one form or another, since forming, it’s only because vocalist Nešo Kovačević, the only original member left, fled to Serbia in the ’90s after the band’s guitarist and drummer were killed during the Balkan wars. It’s impressive enough that a metal band’s material would survive those times, and even more impressive that the music is still relevant and poignant after all these years.

The band’s debut album, the aptly titled Speed Kill, was originally released in 1989 and has seen a handful of reissues over the years. Nuclear War Now! Productions recently reissued the album, for the first time on vinyl, with slightly revamped cover art that hearkens back to the original cassette issue. The band’s location on the front of the Balkan wars provided plenty of fodder to create an angst-ridden, pissed off album full of speeding metal riffing and thrashing, headbanging passages. The album is understandably raw, seething with an anger and caginess that only being constantly in danger and strife can bring.

Those unfamiliar with Bombarder’s style, it’s clear that Motörhead was a huge influence, though that only begins to scratch the surface. Bluesy licks and stomping percussion combine with a mix of brazen speed metal passages and swaggering riffs that rock the fuck out. While the riffing and general instrumentation is choppy and far from technical, Bombarder’s furious and savage intensity make up for any lack of polish. The true gem of the album, though, are the grizzled shouts and growls, coming across like a young, but very Balkan Lemmy.

Speed Kill is one of those rare gems that captures the intensity and voracity of a little known seen. It’s an album that shows just how dangerous Yugoslavia was and how pissed off the youth was at the time. Bombarder lost two members to the madness of the Balkan wars just a few short years after this was released. Somehow Nešo was able to flee and resurrect the band in a different country, but Bombarder will always have one of the most ferocious and aggravated albums ever unleashed in the region. Raging, savage speed metal for fans of Overkill and Bomber era Motörhead.

Written for The Metal Observer.