Black Majik Terror

Three years after the release of their debut album, Shadow of the Sword, Stälker delivers another one-two uppercut of bombastic, invigorating, and downright enjoyable speed metal released under Napalm Records. Implementing the tried-and-true formula of 1980s-inspired speed and thrash metal, this three-piece outfit paints their brand of heavy metal with an overdose of maniacal personality breathing life and energy throughout each of the nine songs comprising this full-length album. Clocking in 39 minutes and eleven seconds, the length of this recording is appropriate—each song demands the listener’s attention, with minimal meandering, cutting straight to the point in its delivery of entertaining and invigorating guitar rhythms that capture the spirit and fervor that pioneered heavy metal’s explosion throughout the early-to-mid 1980s. A tad bit dirty yet clear to the ear, the recording quality allows each instrument to breath individually yet envelops them together into a cohesive whole. Each instrument sounds distinct and synchronized in unison under a relatively gritty yet organic production sound, where each instrument is immediately identifiable. In essence, Stälker maintains a similar sound to their Shadow of the Sword record, while venturing slightly more ambitious in their compositional arrangement and identity.

Chris Calavrias outdone himself with his performance throughout this record: Each guitar riff, rhythm and melody maintains a fluid arrangement allowing each song to consistently lead into one another embellishing the cohesive nature of this recording. Each song is led by a memorable guitar rhythm redolent of Agent Steel’s Skeptics Apocalypse, and even Exciter’s Heavy Metal Maniac among other early-to-mid 1980s heavy metal influences.

Nick Oakes’ drumming throughout this album maintains a steady tempo where each rhythm gradually increases its pace to the standout guitar riffs painting a clear personality for each song. The percussion is exactly what one would expect from a speed or thrash metal band: Not necessarily complex yet deliberately upholding a mid-tempo cadence throughout each song. With that said, “Holocene’s End” runs against the grain with a distinctly slower percussive rhythm not unlike which many doom metal bands employ. Overall, Oakes sounds acutely comfortable behind the drum kit, resulting in a sound that is pleasant to the ear and further cultivates the cohesive nature of this album.

Last but not least, David (Daif) King’s bass and vocal performance is what one would expect if they heard Stälker’s debut full-length album. The bass guitar is audible and dances in-step to the frantic waltz of Calavria’s guitar musicianship. These two instruments are two peas in a pod, closely tied together, resulting in a focused sound where these two musicians accompany one another every step of the way. Furthermore, King’s singing is akin to what one might have heard through Shadow of the Sword. King utilizes an array of grunts, shouts, wails and even falsettos throughout each song, driving home a distinct attitude defining this record.

Stälker’s Black Majik Terror is a downright cathartic album that is bound to please a lot of people I reckon. Lean back, and crack open a can of beer as Stälker delivers an authentically frenetic shot of speed metal to liven up your night.

Nothing can stop impending attack,
Unholy vengeance has unleashed the black,
Unleashed the demon,
Thundering roar,
Pure hell surrounds where were cities before!