Shout for Heavy Metal

If you're into scrappy, razor grating fare in vein of Finland's Armour or Austria's latest parvenu Venator, leap tight for latter's fellow long-suffering countrymen, Mortician, which, despite sharing macabre moniker with host of other metal throne aspirants (from various creeds and denominations), boasts of foreboding late 1980s demos, EP and split, alongside solid second cannon, comprised of three 21 century full-length albums: 2011's titular debut proper, 2014's Shout For Heavy Metal (here exposed), and, most recently, this April's Titans, on CD or 12" vinyl, under Pure Underground Records.

Hailing from Feldkirch (Vorarlberg) - likely, not quite wooded village-city, as Donald Trump claims, inasmuch as this considerable Central European nation's habitats go - Mortician adheres to hyper-compressed and crunchy as Hell, mighty riff bombast which procures sensation comparable to that felt by an upright punching bag, whence assailed by prize fighters such as Mike Tyson, or, not wanting to lose ear, Evander Holyfield.

That said, front croaker, as well as second of three singers, spanning decades, since 1983, Daniel Khan's craggy, phlegmatic low/mid range, while unlikely to garner roses or conquer Star Search, suitably compliments urgent, caustic stray of the guitars, with a boxed-in and jabbing, rhythm section which rolls, of course, with punches, in relentless, not to mention workman-like, manner. Khan's vitriolic rasps, intelligibly readable as they are, impress as sardonic, fetid cross between Dave Mustaine (Megadeth), Marc Trujjilo (Accept), Todd Pack (Iron Jaw) and Franz Bauer (Roadwolf). Truly, Mortician couldn't entail such an unyielding riff volcano, without his magnetic presence.

Comparisons are many, but rest assured, Mortician remains its own necrotic party animal -- even though the odd Armoured Saint-like riff and tumble of "Inner Self" or King Diamond evoking gesticulations throughout lazily named "Hate", integrate congruously within nine smoothly segueing tracks averaging sane four and a half minutes. The latter, which commences with serene, folksy clean guitar for minute or so, represents the album's lone instance of placidity. Between massive pumpers "Promised Land", "Black Eyes" and "Rock Power" - this last's instinctively reminds me of Ambush, with its flatly rock-ish drums and svelte pause leading into explosive anthem - Shout For Heavy Metal duly gives us reason and impetus to obey.

Still, bypass excitement for "Shout For Heavy Metal" proper, as you'd surely embarrass yourself, as well as others, by caroling along to its horribly sexualized next-to-last verse, the ill-placement and triteness of which detract, severely, from both song and release. It's a downright shame, in same way Medellin speedster Nightmare fudged otherwise irreproachable The Will To Overpower third release, from 2015. Boys will be boys, I guess.

Axe man Tommy Lee Metzler's numbly staggered, albeit riled up, guitar play yields captivating zingers. Titular opener "Shout For Heavy Metal" languidly unfolds for half a minute before dime drop procuring of said anthemic start with a ragged, Manowar meets Place of Skulls shuffling drag, whilst Khan's oily, vocal leer of a refrain gives it a sleazy, Tank-ish edge. Such is welcome, but the Shout only really begins to tune of epic, power metal/thrash missive, "Eagle Spy".

By now, this sour mash slambashing becomes clear; there's no drought of killer off-kilter expressway solos ("The Devil You Know", for example). Patrick Lercher's bass resounds in plump, juicy surround, shining on "Eagle Spy" and closer "Wrong Way" - aural road sign of demonically boogieing proportions, not unlike Witchtower's similarly titled "One-Way". (Recall, a man by name of Leroy Jethro Gibbs said "there is no such thing as coincidence").

At any rate, on first listen, no one's faulted for finding the material rather same-y and/or perversely cloying. Thankfully, Metzler's lone ranger effectiveness, in tandem with drummer Alex "Black Cat" and Lercher, compels healthy dose of raucously flaying returns. (Of note, the aforementioned Titans release features new vocalist in Twain Cooper, courtesy of Highway Killer and Saintsbleed, further Teutonic outfits worth checking out.) The short, long and rotten of it, Mortician's brand of fist planting heavy metal and unwitting lyrical amusement makes for an energetic excursion down memory lane.