Svbversvm

The first time I heard RAM was on the Earache Heavy Metal Killers Compilation CD my mother bought me on a whim while traveling in Europe back in '09; upon receiving it, I graciously thanked her, not expecting much out of it. She meant well; I just didn't believe it would be something worth writing home about, as at the time I was pretty suspicious of promotional compilations touting "upcoming acts of repute" or similarly hyping up bands under a particular label. Far from being disappointed, I was in a for an invigorating experience as the bands it showcased were right up my alley. Although I've long lost the CD itself through misadventure, I'm eternally grateful for it introducing me to the likes of Enforcer, Cauldron, Celtic Legacy, White Wizzard, Portrait, Voltax, Crowning Glory, Hospital of Death (HOD) and last but not least, RAM! Unsuspecting of the straight for the jugular sonic onslaught I was about to subject my ears to, "Sudden Impact" (from their self-titled EP and first full-length LP Forced Entry) immediately assaulted my senses. Since then, this band has thoroughly rocked my World and become a welcome addition to my top metal bands as well as solidifying my heartfelt admiration for Sweden's amazing traditional heavy metal scene.

For those who aren't familiar with them, RAM hails from Gothenburg, and is comprised of Oscar Carlquist on vocals, Harry Granroth and Martin Jonssen on guitars, along with Tobias and Morgan Petterson on bass & drums respectively. They play old-school 80s style metal with a raw and caustic edge to both their songwriting and lyrical themes, which range from demonic possession to science fiction inspired apocalyptic takeovers by technology and machines, to dire warnings heralding the fall of mankind by way of greed and hubris. As mentioned above, they are members of a thriving traditional heavy metal community in Sweden and northern Europe, and suffice it to say I imagine they must pack quite a wallop live, though unfortunately I've yet to have seen them perform (how I so want to go to Europe!). As far as similarly influenced bands go I find them a notch heavier and faster than say, Enforcer, Ambush, Steelwing, or Air Raid, but just slightly less intense and mind-crippling than Portrait, for instance; bear in mind, those are all wicked bands -- each is unique, but obviously comparable to an extent.

Svbversvm is their 4th full length album, coming on the heels of the aforementioned Forced Entry ('05), Lightbringer ('09) and Death ('12) LP's . Many people hem and haw about how certain band's new releases aren't as heavy or up to par with the last without being able to appreciate their slight deviation in direction. Well, I appreciate a little experimentation now and then and with RAM's latest release, they've proven without a doubt they're able to be more refined and polished without losing their massive appeal. Twenty years ago, Carcass was criticized by a large amount of their fans for "slacking a bit" and getting "soft" with their 4th release, Swansong, after having produced such a hugely acclaimed masterpiece, Heartwork, two years earlier. To this day all their albums are immortalized in the metal pantheon, and their 2013 comeback Surgical Steel is highly revered as well. In hindsight, a band's change of direction simply provides them with extra versatility.

That said, sure, Svbversvm plays out a bit slower than say, Forced Entry, but all the tracks on the album hold their own in terms of skillful rhythm and lead playing, opening this fifty minute dirge with "Return Of The Iron Tyrant". Actually, along with "Enslaver", it's one of the heavier tracks, featuring Carlquist's dark wailing vocals at their utmost on top of a spectacular guitar solo. A feature I really enjoy about their leads is the way they vary in speed, alternately building up the listener's anticipation before kicking the door of its hinges with their uppercut like shredding. Another piece I really dig is "Holy Death", from its stomping guitar riffs to the thunderous drumming throughout. Once the chorus repeats itself, the vocals and rhythm guitar's tempo break into a Pentragram-like avalanche of doom that would make Bobby Liebling proud.

Perhaps a fair comparison of their blending science fiction with the occult could be Megadeth's technical masterpiece Rust In Peace. A good example of this can be found on "Eyes In The Night" with the opening verse :"Roaming the star ways/ Swift astral fight/ In from beyond and back/ Seeking the conjurer/ Seeking the one that calls for us tonight.", as well as with the chorus: "We owe him allegiance/ We are the eyes of the night/ Once we were human/ Now finally we have left the light." On "The Omega Device", this is also well represented by its kick-ass chorus: "As twilight falls upon mankind we stand face to face with doom/ Destroyed by our own creations/ Our World became a tomb/ We fight for survival a glimmer of hope/ But it was all too late/ The Omega Device..." I love it's inherent prophetic sentiment! The instrumental which precedes this song, the roughly two minute long "Terminus" introduces it perfectly and sounds like something on the soundtrack of the 2014 horror movie "It Follows". As for the cover art, it is a tremendous improvement over past ones. It totally represents a picture of Doomsday reaped upon mankind by otherworldly forces, which these tracks relevantly uphold, along with the perils of toying with artificial intelligence.

My only constructive criticism with this release is the bass being drowned out somewhat and not as prevalent as I would like. Like countless metal heads out there, I have an affinity for wild bass solos coming straight out of left field; it would be great if Tobias Petterson could throw in a couple of those next time around. As well, I found the lyrics and vocals to "The Usurper" a trifle corny but it is what it is. It's still great and it's still RAM so I really shouldn't complain...

When all is said and done, by the time you're recovering from having your eyebrows singed, the title track finishes things off by really driving the nail home. It simply never seems to end, despite being only 05:30; this is one of those albums you're inclined to hear out in its entirety right until the final note. If you're new to RAM, any one of their releases to date is worth starting with as they're all scorching in their own corrosive way. I'll end this simply: Svbversvm is just one more awesome release to add to the band's discography, duly contributing to the top shelf heavy metal experience which is RAM a.k.a. Heavy Metal Tyranny.

I’ve chalked RAM up as a solid band at best and a dullard Judas Priest wannabe at worst. Not to insult the Swedes, but it’s the truth. I think the group’s best work appears on the “Under Command” split with Portrait, because (a) they are notched up to Portrait, a superior band who is astounding in every respect, and probably receive the crumbs of their dominance, and (b) their side has just one original track and two covers, one of which is a Portrait tune. “Svbversvm” may be something of importance to the RAM catalog as it manages to shed much of the inconsistency that has loitered around the group since the dawn of time like the homeless dude who follows me whenever I go grocery shopping.

“Svbversvm” wins because it refuses to abandon what gave RAM its identity, although that identity usually had a talent for screwing the pooch. RAM does the ultimate thing a band can do when trying not to be lame: They confront the screw-ups directly and set them straight. The Judas Priest vibe of prior records is on point, kicking off with an excellent first half of metallic beatings that are stronger than any of RAM’s prior efforts. “Return of the Iron Tyrant” captures what “Svbversvm” has in its pockets, heaving up ironclad bridges and sections that bite in medial chomps and up-tempo snips with excellent poise. “Eyes of the Night” and “Enslaver,” two whippings of up-tempo heavy metal, are almost alien given how much energy is present.

And unlike the usual RAM output, each track makes its presence known like a smelly dump in a public restroom: The huge, thumping chorus of “Holy Death” kicks like a steel boot, and the surging prowl of “The Usurper” is beastly. It makes me wonder if this is the same band that wrote that boring “Dead” album or whatever it’s called. “Temples of Void” has some Mercyful Fate-ish notations in its main riff, which is an automatic stamp of approval. The title track, again, takes all the elements that made RAM a pretender and puts them on the map for notable heavy metal bands with its jackhammering rhythm and melting leads. Oscar Carlquist sounds awesome nailing ridiculous falsettos and wailing like a siren of steel, no longer acting like a passive tool for a third-rate metal band.

“The Omega Device” is the one piece of classic RAM, with its hard rock vibe coming off as campy and unneeded. The production could also use a bit more grit; the modern style and this brand of heavy metal are just incompatible. Surprisingly, though, “Svbversvm,” which isn’t a real word and I have no idea what it means, doesn’t sound like scrotum. It’s a few miles from perfect, but I’ll gladly take this over what RAM usually settles for.

This review was written for: www.Thrashpit.com